11/18/2023 0 Comments Hades orpheus and eurydice songHelen in 'The Cripple of Inishmaan' – Baize Buzan.Harry Hope in 'The Iceman Cometh' – Stephen Ouimette.Gruach in 'Dunsinane' – Siobhan Redmond.George in 'Who's Afraid of Virginia Woolf?' – Brian Parry.Eddie Carbone in 'A View From the Bridge' – Ramón Camín.Donel in 'The Opponent' – Kamal Angelo Bolden.Davies in 'The Caretaker' – Bill Norris.Clytemnestra in 'Agamemnon' – Sandra Marquez.Clown in 'Burning Bluebeard' – Dean Evans.Charlesetta in 'East Texas Hot Links' – Tyla Abercrumbie.Catherine Parr in 'The Last Wife' – AnJi White.Caroline in 'Luna Gale' – Mary Beth Fisher.Bo Decker in 'Bus Stop' – Michael Stegall.Blanche DuBois in 'A Streetcar Named Desire' – Tracy Michelle Arnold.Bev/Kathy in 'Clybourne Park' – Kirsten Fitzgerald.Benjamin Stone in 'Follies' – Brent Barrett.Anya Botvinnik in 'A Walk in the Woods' – Janet Ulrich Brooks.Anna in 'City of Dreadful Night' – Justine C.All seven characters in 'The Amish Project' – Sadieh Rifai.Alice in 'The Dance of Death' – Shannon Cochran.Ahab in 'Moby Dick' – Christopher Donahue.Aggie in 'A Catered Affair' – Rebecca Finnegan.Abdullah Khan in 'Blood and Gifts' – Kareem Bandealy.Role Playing: Actors Inside Their Characters The show begins and ends with its ringing anthem “The Road to Hell.” I’m afraid it’s the one paved with good intentions. The sets are handsome and ambitious, too, especially the Underworld scene with its workers’ circle and its forbidding elevator of no return. The music of “Hadestown” is generous, imaginative and well made, not least for Hades’ enslaved workers and three chorus-like figures called the Fates. But do I really want to see this tape of an immature, self-centered adolescent replayed? Let us hear again the tale of broken-hearted Orpheus. When, after Orpheus’ quest to retrieve Eurydice from the Underworld has failed, and he’s back in the bistro scratching out another song, Hermes says, essentially: “Well, there it is – a tragedy, but we keep coming back to this great story perhaps in hope that it will turn out differently.” Of the original, I would say, yes, exactly. And it is specifically in this show’s concept of Orpheus as a narcissistic artiste that it loses its dramatic gravitas. What shall I say, then, about Nicholas Barasch’s whiny vocalizing as Orpheus? That’s where his music lies, I suppose, in a tenor very high falsetto range, but even so I didn’t hear much body weight in all the pallid pleading of this feckless Orpheus. She brings a polished singing voice to the role, but her Eurydice seems a bit wan for a modern woman. Oddly, Morgan Siobhan Green’s blowing leaf Eurydice never achieves that fullness, those dimensions of credibility. The further the show moves along, the more compelling Marable becomes as a figure of real depth and substance. In every sense, Hades meets his match in Kimberly Marable’s aggrieved but also imperious – and vocally resplendent – Persephone. No less might also be said of Kevyn Morrow’s urbane Hades, whose authoritative presence and resonant bass-baritone voice are the stuff of kingly characters. Hades is furious that Orpheus has come for Eurydice.
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