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Passion

SOUND CHECK: Hadestown Original Broadway Cast Recording

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In this first edition of Sound Check, we’ll be taking a deep dive into Hadestown, a highly-acclaimed, sung-through musical currently playing at the Walter Kerr theater on Broadway. Based on the myth of Orpheus and Eurydice, Hadestown offers a political twist on a timeless tale. The basic premise involves Orpheus, a naive boy in love with Eurydice, a girl who grew up poor. Due to Persephone (Greek goddess of nature) and Hades’ crumbling marriage, there “ain’t no spring or fall at all anymore”–a metaphor for climate change. In addition, Hades’ domain is not Hell, but a factory sustained by the labor of emotionless and nameless workers. Long story short, Eurydice signs her life away to Hades as life in Hadestown seems better than the hell that is the real dystopian world, and Orpheus walks into Hadestown to sing a little song that rekindles Hades and Persephone’s love, convincing Hades to let the workers walk out of Hadestown. However, there’s a catch: Orpheus has to walk in front of everyone and cannot look behind him to check if Eurydice is still following him. In the end, Orpheus messes it all up by turning around. Truly tragic.

What is NOT tragic though is the incredible music written by Anais Mitchell. While there exist 40 glorious tracks of dystopian drama in the soundtrack, we’ll focus on my top 15.

 

15. Flowers

Lyrics: 80
Instrumentals: 76
Performance: 78
Personal enjoyment: 85
Average: 79.75

“Flowers” is a gorgeous song that ties in to the nature theme of the show. The simple instrumentals and steady melody makes sense within the context of Eurydice losing her identity in Hadestown, especially the lyrics, “Dreams are sweet until they’re not / Men are kind until they aren’t / Flowers bloom until they rot and fall apart”, which work well to convey her disillusionment with Hadestown society. While it carries these strong qualities, it does not stand out in terms of vocal performance or dramatic instrumentals like the following tunes.

Image result for hadestown

14. Road to Hell (Reprise)

Lyrics: 80
Instrumentals: 50
Performance: 95
Personal enjoyment: 75
Average: 80.75

A devastating finale, Hermes starts this swelling ballad to conclude the story and spread the message that “To know how it ends and still begin to sing it again–as if it might turn out this time–I learned that from a friend of mine” (referring to Orpheus). Mitchell’s songwriting genius is evident here as this reprise transforms the original upbeat introductory number into a somber yet hopeful, not to mention the lovely harmonies on “It’s an old song.” As for its place in the ranking, the song is so slow that it lacks room for outstanding instrumental moments, yet it still remains in the top 15 for lyrics and specifically Andre de Shields Tony-award-winning performance.

 

13. Why We Build the Wall

Lyrics: 98
Instrumentals: 80
Performance: 80
Personal enjoyment: 79
Average: 84.25

“Why We Build the Wall” shocked me the first time I heard it in 2018. It’s a head bopper with a steady beat and a surprisingly relevant meaning–despite Mitchell writing the song in 2007, pre-Trump-era. In a 2016 interview, Anais  Mitchell claimed that she typically introduces it at concerts by saying, “This song is ten years old… Any resemblance of any contemporary political figures to the King of the Underworld is purely coincidental.” During the Hadestown Talk at Google, the cast mentions times when people have stood up and walked out of the theater during that song, as well as the experience of singing the song during international performances and understanding that the audience perceives it as an American theme instead of the universality that Mitchell was going for. Regardless, Mitchell’s genius shines through yet again, and as always, Patrick Page’s stunning bass voice and authentic-feeling moments of anger bring the performance score up.

 

12. Wait for Me (Reprise)

Lyrics: 80
Instrumentals: 70
Performance: 99
Personal enjoyment: 96
Average: 86.25

If you have never heard any Hadestown music before, I highly recommend you start at 2 minutes and 40 seconds of this song. It was the first clip I heard from the show and I remember listening to the clip over and over again on the Hadestown Instagram since the original cast recording did not include Eurydice’s verse. The performance score ranked so high for Eva Noblezada’s extraordinary belting and the ensemble (known as The Workers) superb vocals. I did however deduct points for Hermes verse since just like the first Wait for Me, Hermes’ verse does not rhyme and it drives me insane.

 

11. All I’ve Ever Known

Lyrics: 90
Instrumentals: 89
Performance: 87
Personal enjoyment: 80
Average: 86.5

I truly believe this is one of the most beautiful love songs of all time. The perfectly ominous instrumentals tie in to the dystopian setting, while the lyrics blend together and match both Orpheus and Eurydice’s personality so well. Extra points for gorgeous violin and the lyric “All I’ve ever known is how to hold my own, but now I want to hold you too.” Incredible.

 

10. Gone, I’m Gone

Lyrics: 95
Instrumentals: 60
Performance: 99
Personal enjoyment: 94
Average: 87.0

Though short, this song is a pivotal moment and an amazing choice plot-wise. Lyrics would have scored a 99 but I made a slight deduction for “the way is dark and long”, because I feel like there could have been some better, less suggestive word choices there. The lyrics otherwise are spectacular, from “You can have your principles when you’ve got a bellyful” to the choice to have the second “I’m gone” be spoken-word. This song includes a clever reference to the original myth (in which Eurydice dies via rattlesnake bite) as a rattlesnake sound occurs before the train whistle.  Extra instrumental points for the violin plucks at the end, too, and performance points for The Fates (three supporting characters who follow the main characters around and advise them–usually to no avail).

 

9. How Long?

Lyrics: 90
Instrumentals: 70
Performance: 100
Personal enjoyment: 97
Average: 89.25

While I did not like this song initially, it really grew on me. It features the two best performers (in my opinion) in the original Broadway cast, Amber Gray as Persephone and Patrick Page as Hades. I love the dark and grounded tone and the tense mood fostered by their excellent acting that carries over in to the cast recording. I always appreciate a theatrical song that sounds like a normal standalone song yet still contributes to the plot, and this song fits the bill.

Image result for hadestown

8. Hey, Little Songbird

Lyrics: 80
Instrumentals: 98
Performance: 98
Personal enjoyment: 89
Average: 91.25

On that note, “Hey, Little Songbird” is another song that features Patrick Page’s low bass voice, so automatically it became one of my favorites. Enchanting to listen to, it does contain a weird verse for Eurydice that docked some lyrics points, but Page’s performance brought the score up overall. The dark orchestration is perfect for this moment in the show and adds to the enchanting energy. This song accomplishes the job of character development and maintains character fidelity that makes sense for both Hades and Eurydice, while maintaining its status as a stand-out number.

 

7. When the Chips are Down

Lyrics: 90
Instrumentals: 78
Performance: 98
Personal enjoyment: 99
Average: 91.25

Referenced in “Gone, I’m Gone”, this fierce tune punches you in the face with lyrics like “And the first shall be first / And the last shall be last / Cast your eyes to heaven / You get a knife in the back”. I cannot explain in writing the power of those lyrics in writing–especially in context–so I highly recommend just giving it a listen or even better: watching the Hadestown NPR performance and learning the choreography. Full of amazing vocals and instrumentals that make you want to dance to a song about the apocalypse, this tune ranks high mostly because I’ve listened to it so many times.

Image result for hadestown

6. Chant (Reprise)

Lyrics: 90
Instrumentals: 100
Performance: 100
Personal enjoyment: 94
Average: 96.0

See #3: Chant for my full thoughts on the chants. This reprise specifically is notable for its political lyrics, such as “Why do we turn away when our brother is bleeding?” and “Why do we a build a wall and then call it freedom?” It represents The Workers gaining class consciousness, a vital moment in them deciding to walk out of Hadestown. “Chant(Reprise)” also includes quite possibly the most powerful moment in the entire show. The heavy instrumentals in this moment are INSANE–I can hardly describe it in writing. Drop what you’re doing right now and listen to “Chant (Reprise)” from 3 minutes in.

 

5. If it’s True

Lyrics: 100
Instrumentals: 98
Performance: 90
Personal enjoyment: 96
Average: 96.0

Quite possibly the best standalone song in the show, “If it’s True” features Orpheus motivating The Workers to realize their circumstances and rise up against the powerful Hades. My only gripe with this song (and why I docked performance points) is the original cast recording (pre-Broadway) featured Bon Iver as Orpheus, and I prefer his lower voice to the less-mature-sounding Reeve Carney (Broadway Orpheus), though I understand the change in terms of character fidelity and development.  The instrumentals play an important role in fostering the inspirational tone, and the steady beat makes “If it’s True” one of my most-played songs, probably ever.

 

4. Way Down Hadestown

Lyrics: 99
Instrumentals: 96
Performance: 98
Personal enjoyment: 95
Average: 97.0

One of the fun songs in Hadestown, “Way Down Hadestown” includes a dance break that gives the instrumentalists a time to shine. A perfect song to dance to, the lyrics poignantly describe life in Hadestown in a vibrant way. Lyrics like, “An eye for an eye!” are the cherry on top.

 

3. Chant

Lyrics: 97
Instrumentals: 100
Performance: 99
Personal enjoyment: 99
Average: 98.75

“Chant” makes me wish I could sing. Each character brings a different style to their verse, and the intense instrumentals change to match each characters’ tone perfectly. Truly an exemplary piece of musical theatre. In my opinion, Eurydice has the best verse. This might be more a credit to Eva Noblezada’s vocal skill than the writing of the song, but either way, incredible composition and performance all around.

 

2. Our Lady of the Underground

Lyrics: 99
Instrumentals: 100
Performance: 100
Personal enjoyment: 99
Average: 99.5

On that same note, “Our Lady of the Underground” is also incredible around, but in a very different way. As I mentioned before, Amber Gray is my favorite performer in this show. Her take on Persephone as an eccentric and strong character brings something different to the original myth. Combined with her strong voice, the clever lyrics make you want to dance. The tune of this song is so different from the rest of the show as it juxtaposes the gloomy mood. Extra points for having the character of Persephone introduce the members of the band during the an instrumental break.

 

1. His Kiss, the Riot

Lyrics: 100 
Instrumentals: 100 
Performance: 100 
Personal enjoyment: 100 
Average: 100

At last… my absolute favorite song in the show. I know most fans of the show might disagree since this song appears very unassuming at first, Patrick Page’s performance brings this song to number 1 on the ranking. This is likely the darkest song in the show, with the most powerful lyrics and dramatic instrumentals. My favorite lyrical moment of possibly all of musical theater is from this song: “She’s out of sight, and he’s out of his mind.” Absolutely showstopping. 

 

And that’s it! Let me know if  you listened to any of the songs an what your thoughts are, and if you were a fan prior, what’s your ranking?

Stay tuned for the next edition of Sound Check!

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References:

RCL

Civic Artifact Elevator Pitch: Dining Commons Screens

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Did you know 1,927.9 pounds of food were wasted at Redifer Commons during the month of August alone? At least, that’s what the screen above the trash and compost bins in the South buffet says.

These screens exist in every dining commons as a result of Penn State’s sustainability efforts– specifically in alignment with the United Nations’ 12th sustainable development goal to “ensure sustainable consumption and production patterns”.

Whoever created the slides that are displayed on the screen had the student body in mind as one of the slides claims, “Every day in the U.S., we waste enough food to fill the Rose Bowl”, which appeals to the typical Penn State student’s affinity for college football. However, this is where the designer’s awareness of the audience ends. The slides display negative reinforcement. There is something off-putting about placing blame for food waste on us college students who can barely afford to eat substantial meals outside of the commons buffets.

In my rhetorical analysis of these dining commons screens, I will compare different slides from every dining commons and investigate specific rhetorical choices through the lens of commonplaces and social movement studies, in addition to placing the statistics into international perspective. On the slides, commonplaces are found in statements such as “Together we can make a difference”, while the use of first person plural pronouns creates a sense of solidarity that is a key social movement tactic (in this case, the zero-waste movement).

This topic is incredibly relevant to all of us as we encounter these screens on a daily basis. By breaking down the components and implications of the slides displayed in the dining commons, I hope we can each approach reducing food waste from a more holistic angle.

Thank you for your time.

RCL

The Murder Of Kitty Genovese And The Commonplace Of Urban Apathy

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Content Warning: murder, r*pe

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When talking about New York City, someone is sure to mention the high levels of crime and perceived apathetic attitudes of residents. In March 1964, the murder of Kitty Genovese became front-page news in a New York Times article that claimed “37 Who Saw Murder Didn’t Call The Police.” At a time when America was rapidly urbanizing, Americans were starting to realize the dysfunctional NYC government policies along with high crime rates, but up until the publication of that article, few were actually talking about it. This breaking news gave not just NYC residents but all Americans a reason to accelerate the belief that cities were becoming more and more unsafe. The underlying discontent with city living festered into an exigence that motivated the immortalization of Kitty Genovese’s murder as a symbol for bystander and urban apathy.

Catherine “Kitty” Genovese was a 28-year-old bartender living in Kew Gardens in Queens, NY. During the early hours of March 13, 1964, she was followed by a man (known later as Winston Mosely) on her walk home from a late shift at the bar. In a dark alley, Mosely stabbed her with a knife, puncturing her lung. She stumbled in to a back hallway of her apartment building where Mosely found her ten minutes later, stabbed her several more times, and raped her.

There were several witnesses, but not 38 as the article led readers to believe. A few witnesses later said they heard screams but assumed it was a domestic fight, which was sadly not seen as severe or irregular in the 60s. One man mentioned his father did in fact call the police, and another man opened his window to yell “Let that girl alone!” during the first attack. When Kitty entered her building, her friend Karl Ross opened his door and saw the second stabbing, but he did not call the police right away. However, the original story left out that Ross was a gay man. He had a valid fear of interacting with law enforcement. Ross called a neighbor named Sophia Farrar who ran into the hallway, not knowing if it was fully safe to or not, and held Kitty in her final moments.

It is clear that the real events do not reflect an overall apathy of ordinary city residents and that there are several inaccuracies in the original article. The police controlled the narrative from the beginning as it was a chief commissioner who pitched the story to a NYT editor. The article left out that Kitty Genovese herself was a lesbian, despite the police’s harassment of Genovese’s girlfriend. The NYT writers were acutely aware of constraints such as the typical reader’s traditional values. It was a story that spoke to the growing uneasiness of city residents and motivated movement into the suburbs, thereby contributing to urban sprawl and the construction of our prevailing, unsustainable car-dependent infrastructure. Though cities tend to have higher crime rates due to a higher population density and exaggerated socioeconomic divides, the commonplace of the apathetic city resident is damaging. The original narrative of Kitty Genovese’s murder is still used today in textbooks to describe the bystander effect (not taking action if there are other people around out of an assumption that someone else will take care of the situation) and spread the overgeneralization of urban apathy. The NYT article is an example of dehumanizing someone to appeal to a commonplace regardless of the instances of the isolated scenario, and it serves as a reminder to write with integrity and encourage empathy.

References:

Passion

Passion Blog Pitch

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Presenting…

SOUND CHECK: a blog dedicated to instilling an appreciation for musical theater in college students with limited time on their hands.

Each post will feature a different musical (both Broadway and off-Broadway) with a ranking of every song in the show’s official cast recording. With the help of my objective and definitive ranking, readers will learn exactly which songs to listen to in order to prevent wasting time on the flops. Explanations will follow each ranking, along with a score determined by my handcrafted song-scoring algorithm. Points will be awarded for impressive features such as jaw-dropping vocal moments, motifs, and cohesive instrumentation, while deductions will be made for out-of-place lyrics and “cringe.” Plus, every post will feature interesting tidbits from my embarrassingly large arsenal of theater facts. From critiques of plot changes between productions to moments of intense admiration for overlooked numbers, Sound Check is your ticket to all things musical theater.

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Backup pitch: A Deep Dive Into The Music Of Taylor Swift

LONG STORY SHORT… Each post will focus on a few related TS songs and provide a GORGEOUS analysis of the themes, contexts, and lyrics. Though Taylor Swift tends to be a DELICATE subject for many, this blog will give non-Swifties a chance to BEGIN AGAIN and develop a taste for thoughtful country pop. From the songs we know ALL TOO WELL to the deep cuts,  we’ll JUMP THEN FALL into the world of TS.

Are you READY FOR IT?

Backup pitch: True Crime but not murders, more like scams and such with a comedic twist