Hadestown, Walter Kerr Theatre,Wednesday August 7th 2019
"Hadestown" was presented at the Walter Kerr Theatre on Wednesday August 7th 2019For those new to my blog I write about the holistic experience of attending the theatre. I buy my own tickets. So if you want a re-telling of the story please refer to the links for further information or for further insights. Note, that I may provide different links for repeated main words or phrases. I write for my memories of what I have seen, and is more of a stream of consciousness.
I picked that "Hadestown" would win the Tony Award in January 2019 when the show had not even opened. I had completed my research and knew it was transferring from a successful London season.
I purchased the cheapest tickets possible on the first day that the tickets went on sale. The reason for the cheapest tickets is that I thought Paul may not like it, and also if we had to cancel the trip, and not be able to get a refund then it would not be a huge loss.
The Walter Kerr Theatre is where we saw “A Gentleman’s Guide to Love and Murder”, so I knew the seats and the view. There are only two
rows up in the Gods, in the Balcony. $49 a ticket was better than the
$189 some paid to be much closer to the action, but they missed out on
some spectacular views from up there.
The only downside of being up so high, was that on about five
occasions we had to lean forward to view the action. The
proscenium arch was extended into a large curve into the audience area.
The other downside was that on two occasions I could see down the abyss
where the stage hands were preparing the next scene. Not too much to
complain about for the great price.
The theatre was nearly sold out. The air conditioning was working unlike the horrendous conditions at the Lyceum Theatre where we
melted the night before.
You have to open your bags upon entry, and take them off your
shoulder as you pass through a second security check. I wish they had
this security at our theatres in Australia as I feel they are too lax
and need to only allow ticket holders into the theatres.
"Hadestown" is a boutique musical for the musical theatre
aficionados. I do not think it would take in Australia, except for the
real musical theatre fans.
Developed and Directed by Rachel Chavkin has created a masterwork.
We both loved the show, but with reservations.
When we took our seats the stage was opened to view the set. It
reminded me of the “Barnum” set in Melbourne 2019. The shadow of the
spiral staircase was fabulous and evoked the heat.
SPOILER ALERTS:
Do not read anything about "Hadestown" below if you want to have anything revealed about the show.
One understudy for a worker performed tonight and I did not get
their name. By the time we arrived in the foyer (lobby) at the end of
the show they had removed the cast changes list. The lady said there was only one change to the workers.
By the way - the bodies are hot. Hot. HOT!! Well it is a show about hell!
What is fascinating is seeing two shows back to back with similar
themes of acceptance, rejection, inclusion, love and selling your soul
to the devil. The final major theme of the “fear of missing out” is so
contemporary with mobile phone usage. This “fear of missing out” by
Orpheus is his undoing.
The set included three revolves. The smaller central revolve also
acts as an elevator to hell, which provides sensational effects showing
an abyss to hell. Plus this central revolve also raises as a podium very effectively.
The first time the lift is used when they change from a cabaret
like venue and the ensemble pack up their chairs and tables to this
central revolve to then descend down. Wow!
The dance moves by the five workers reminded me of Hofesh Schector’s work with the hunched bodies and the shuffling. The gestural
thumping, punching, swing and digging actions for the miners were
terrific.
The show started at about 7.40pm, probably due to the torrential rain.
Hermes played by Andres De Shields held his stance for the opening.
The whole cast took their place and held their poses. Andres De Shields was commanding and electric in his stillness preparing to begin the
ritual. It is a ritual that is repeated eight times a week. Then a
phone went off - very loudly. Andres looked towards the offender in the
Stalls (Orchestra) and the audience went wild. I think all phones were
double checked to be set to “off” at this point. Yes it is respect.
He is a master at his craft and to see this in action was breath taking.
The audience were so enthusiastic from the first entrance of the ensemble cast.
A sloppy moment occurred with a costume change when Eurydice is
stripped of her coat. This needs to be rehearsed to tidy up the clumsy
change. It should have been magical and seamless. I should not have
been able to pick her preparing the coat for its exit. It was probably a
little timing issue, but this makes a huge impact on the context of the
scene.
Some great images included:
There was a moment when Orpheus travelled across tables. This effect was used in the 1994 production of Complicite's “The Three Lives of Lucy Cabrol”.
The set reminded me of Dann Barber's 2019 Melbourne version of “Barnum”
with the circus ring and the cast sitting on the platform seats
observing the action. Three women as the Three Fates and a group of five workers also observed the action as if a Greek Chorus.
Scenic Design by Rachel Hauck was brilliant in its complexity.
There were so many layers with the three revolves and a set that tore
apart similar to the play “An Inspector Calls” presented by The National Theatre of London. The walls peel and
rise to the flies. The stage pulls apart to reveal the bowels of the
theatre, similar in part to the finale of “Pippin”.
Perspephone played sensationally by Amber Gray wore a green dress
and sat up on the balcony. She reminded me of Maeve from “Westworld”.
This comparison was to be confirmed later in the conclusion.
The central lift well is used effectively to dispatch people below to Hades,
The ticket to Hades number was well staged and built up tension in the story.
Hades played by Patrick Page was totally incomprehensible to
understand in Act One. He had clearer diction in Act Two. Maybe the
sound levels were too loud and had too much bass in Act One as his voice
sounded so distorted. Again he was easier to understand in "Spider-Man: Turn Off The Dark".
Lighting Design by Bradley King was sensational as he focused our
attention, and also created different moods with the “skirting board”
lighting effects on the first level with various colours of yellow, red
etc. The shadows of the lighting rigs and the swinging lights created
an illusion of reality versus fantasy, or heaven and hell images. "Hadestown" had some of the most evocative lighting I have seen in a show for years.
Choreography:
Choreography by David Neumann is absolutely brilliant as he
captures so many moods and themes. His miner, labourer and worker type moves
reminded me of the engineer’s and workers from “Titanic”.
The workers’ dance with the hanging lights was brilliant. The lights also
dance by their “Martha Graham” like rise and fall, or release and swing.
Then the lights were captured by the workers and held, then connected
and then flown up to a height. Wow - great inventive use of just these
five large lights. It also paid homage to Alwin Nikolais who choreographed with lights, props and costumes to maximum effect. I was lucky to see Alwin Nikolais's company twice in 1986 and testify this compliment to David Neumann's choreography.
Dance moves included many masculine labouring tradesmen movements
and gestures. They were strong and powerful, as the performers' bodies glistened. They punched, twisted, and swung their arms with their bodies hunched over as if mining with a pick axe. Other movement sequences included: elbows in, arm thrown back, arm swing.
Another sequence for the workers had them hunch and stamp right foot,
heel right. Then repeat on the left - hunch and stamp left foot, and heel
left. Shrug, shrug,rolls, dig, pull, push, thump, pull, fists punch
together, reach out both arms etc. There were thrusts and stretches and so many wonderfully exhilarating phrases of movement.
Another sequence of: thump, punch, pullback fists, push up, arms; arms repeat other side - like a telephonist pushing plugs into a
switchboard with fists.
Some of the choreography was like a memory from “Westworld” and being reprogrammed to perform again. My instincts and analysis proved to be correct when you see the finale.
Direction:
Did I say that the direction by Rachel Chavkin was sublime? It was a simple story telling device that did not over explain Orpheus’s quest to see Eurydice. This was
terrific as we did not need to see Orpheus' journey as it would have laboured the story.
The use of the train whistle was haunting as it announced the next departures. It also reminded me of “Westworld”. More so, than I realised, as the finale confirmed my suspicions.
The dry ice smoke effect with the lighting was haunting and made you feel hot.
Three ladies played The Fates, and were also observing like a Greek
chorus. They also sang like back-up singers, and played various
instruments on the run. They were mesmerising, focused and electric.
Jason Robert Brown is quoted in the New York Times (Monday August 5th 2019 page C5.) talking about Hal Prince after his death:
”Hal ... went to the last seats on the far left and right sides of
the theatre. From there, Hal shouted into his microphone to take one
step forward.......The most consistent thing about Hal was that he
treated every person in that theatre with respect, including the
lowest-paying audience member sitting all the way house left.”
THIS IS WHAT RACHEL CHAVKIN has also done with her sight lines and
treated the audience with respect. She ensured that everyone could see
from every seat. That is rare as we see a lot of theatre and I write
about it. Particularly at some venues they never check the sight lines,
particularly at Chapel Off Chapel.
We see a lot of shows when we come to Broadway. We do not always buy premium tickets. To maximise the number of shows we can see we buy mid range or cheaper seats. We even purchase discounted tickets. It is the experience of seeing someone’s work that is important.
Negatives:
Poor diction from the word “go”. The accents were hard to understand as well for our Australian ears.
Some singing was flat.
Some singing by Reeve Carney was screeching and shrill. He was a much better as a singer and actor in "Spider-Man: Turn Off The Dark" where he developed rapport and relationships with his leading lady. Here, he felt quite wooden.
My partner asked me the time on two occasions during Act One. This says to me there are holes that need to be filled.
There were some cliched moments like the rose was left on centre stage. Yes it is a tried and tested theatrical cliche, and, it still worked as it is a universal symbol.
Finale:
The screaming standing ovation is unlike anything I had witnessed
before on Broadway. “Come From Away” on Broadway had a volcanic explosive
standing ovation with riotous cheering, while tonight's standing ovation was more
considered. The cast were clearly excited by our reaction. Yes there
was screaming from us in the Balcony. We were not forgotten, and that
encouraged the audience even more. It was the longest ovation I have
seen on Broadway.
Like an epilogue, the cast then burst into a beautiful hymn like
“toast” to celebrate doing the same ritual again. It was spooky and
very “Westworld” as if the cast were about to perform the show again.
Similar to Peter Brooks rehearsing his cast supposedly after an opening
night sensation. (Fact or myth?)
They left the stage. The earlier ovations sustained, and the
prompt exit of the cast was as if the cast were preparing for the stage
manager’s announcement “Beginners on stage”.
The show can be best described as “it was like freezing in hell”. I
could not work out why I did not feel any empathy of emotion for any
character. Paul felt the same way. We were both divorced and detached
of any sentiments or care for any character. I had not felt that with
any show before. Then it hit me: that is what it must feel like to be
in hell - “it was like freezing in hell”.
The images of the lighting and the dry ice emphasised this feeling
as it had a heat to the lighting, but also the smoke rising effect was
also like the icy steam when you open a very cold freezer. This is the similar feeling of getting a freezer burn.
Security and ushers:
Congratulations to the brilliant team of ushers and security at the Walter Kerr Theatre who ensured no phones went off during the performance.
Thank you Rachel Chavkin and the theatre staff for ensuring the theatre ritual was not disturbed by mobile phones and cameras.
One usher walked past many patrons and approached a lady in the
front row of the Stalls (Orchestra) during the finale to stop her
filming the show. Congratulations.
Overall, "Hadestown" received a 7/10 from my partner and I gave it an 8/10.
Reference:
Peter Brook said you cannot have enough rehearsal. Legend has it that Peter Brook called a rehearsal after a sensational standing ovation of "A Midsummer Night's Dream". Maybe that story has distorted over time but Peter Brook does like to keep an eye on a production after it opens.
See the article from The Guardian:
I wrote the following onto Facebook on Thursday August 7th 2019:
"HADESTOWN: Andres De Shields.
Congratulations to Andres De Shields.
Hermes played by Andres De Shields held his stance for the opening.
The whole cast took their place and held their poses. Andres De Shields was commanding and electric in his stillness preparing to begin the
ritual. It is a ritual that is repeated eight times a week. Then a
phone went off - very loudly. Andres looked towards the offender in the
Stalls (Orchestra) and the audience went wild. I think all phones were
double checked to be set to “off” at this point. Yes it is respect.
He is a master at his craft and to see this in action was breath taking.
I called the Jujamcy Theatres to congratulate their ushers and
security staff for ensuring that the theatre experience was a communal
event minus technology wankers (TWANKERS).
A Twanker is a person who disrupts your enjoyment of a theatre show
or restaurant because they are self absorbed checking emails, sms,
texting and generally scrolling, flicking and fingering their phone or
device . Or they hide their phone under their bag and coat and secretly
check things and the light flashes and distracts your peripheral
vision. Then you usually miss out on a crucial part of the show due to
their mobile phone’s flash of light.
Thank you again Andres De Shields. You are a legend of respect."
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