I've been listening to the Broadway cast recording too! So good. So catchy. I hope to check out all the versions eventually. I'm glad they kept some parts where Orpheus's singing has multiple voices in it - I loved that, it felt very much like there's supernatural power there.
I started reading the book about the lyrics! Turns out there's an audiobook version, so I've been listening to that. It's fascinating to hear about all the evolutions and choices. Including the problem of making Orpheus more likeable. Because I had no problem liking him in this version. For the most part anyway - I think the most unsympathetic moments are (1) when he's so busy writing that he doesn't hear Eurydice (it's a bit of a Great Man situation, working on his Big Ideas, while his wife is having to make sure people are fed and clothed) and (2) when he turns around (you had one job! though I feel it's really the Fates with their thumbs on the scale).
But learning that Hermes telling Eurydice, "He's not like any man you've met", was originally Orpheus's line, "I'm not like any man you've met" - wow, totally different impact! No wonder early audiences thought Orpheus wasn't very sympathetic. And it's impressive that who delivers a line can make that much difference.
And it was interesting what Anaïs Mitchell said about the scene before the storm - if Orpheus dismisses or ignores Eurydice, the audience will start to hate him. But if Orpheus does nothing wrong, the audience will start to hate Eurydice for abandoning him. It must be really hard to navigate that.
I read somewhere online that the reset beginning has a few differences from the first time around - hinting that maybe enough might have changed to make a difference this time? Kind of like a Groundhog Day. I find it kind of hopeful. I want to believe it anyway.
At the same time, I find the fact that Orpheus failed kind of galvanising instead of depressing? Maybe the way a bad ending inspires fix-it fic. With everything going on in the world, the songs feel very relevant and anthemic. I think I'll probably be listening to them a lot.
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timeasmymeasure
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Date: 2025-02-26 01:56 pm (UTC)I started reading the book about the lyrics! Turns out there's an audiobook version, so I've been listening to that. It's fascinating to hear about all the evolutions and choices. Including the problem of making Orpheus more likeable. Because I had no problem liking him in this version. For the most part anyway - I think the most unsympathetic moments are (1) when he's so busy writing that he doesn't hear Eurydice (it's a bit of a Great Man situation, working on his Big Ideas, while his wife is having to make sure people are fed and clothed) and (2) when he turns around (you had one job! though I feel it's really the Fates with their thumbs on the scale).
But learning that Hermes telling Eurydice, "He's not like any man you've met", was originally Orpheus's line, "I'm not like any man you've met" - wow, totally different impact! No wonder early audiences thought Orpheus wasn't very sympathetic. And it's impressive that who delivers a line can make that much difference.
And it was interesting what Anaïs Mitchell said about the scene before the storm - if Orpheus dismisses or ignores Eurydice, the audience will start to hate him. But if Orpheus does nothing wrong, the audience will start to hate Eurydice for abandoning him. It must be really hard to navigate that.
I read somewhere online that the reset beginning has a few differences from the first time around - hinting that maybe enough might have changed to make a difference this time? Kind of like a Groundhog Day. I find it kind of hopeful. I want to believe it anyway.
At the same time, I find the fact that Orpheus failed kind of galvanising instead of depressing? Maybe the way a bad ending inspires fix-it fic. With everything going on in the world, the songs feel very relevant and anthemic. I think I'll probably be listening to them a lot.