Working on a Song

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Working on a Song Page 16

by Anaïs Mitchell


  One more change worth noting is that in early productions, the intro went like this:

  Hermes: It echoed in the rocks and stones / When the poor boy asked the king

  Orpheus: Can we go?

  Hades: I don’t know

  Hermes: And the walls were listening

  I began to feel that I was abusing the rocks and stones metaphor, and I found another unwittingly funny moment. When Hermes says, And this is how he answered him the audience anticipates a No from Hades, because of the rhyme with go. I don’t know, especially in London, was a laugh line.

  HIS KISS, THE RIOT

  Hades (to himself)

  The devil take this Orpheus

  And his belladonna kiss

  Beautiful and poisonous

  Lovely! Deadly!

  Dangerous, this jack of hearts

  With his kiss, the riot starts

  All my children came here poor

  Clamoring for bed and board

  Now what do they clamor for?

  Freedom! Freedom

  Have I made myself their lord

  Just to fall upon the sword

  Of some pauper’s minor chord

  Who will lead them?

  Who lays all the best-laid plans?

  Who makes work for idle hands?

  (to Hermes) Only one thing to be done

  Let them go, but let there be some

  Term to be agreed upon

  Some . . . condition

  Orpheus, the undersigned

  Shall not turn to look behind

  She’s out of sight!

  And he’s out of his mind

  Every coward seems courageous

  In the safety of the crowd

  Bravery can be contagious

  When the band is playing loud

  Nothing makes a man so bold

  As a woman’s smile and a hand to hold

  But all alone his blood runs thin

  And doubt comes

  Doubt comes in

  Notes on “His Kiss, the Riot”

  This one has remained mostly unchanged since the Vermont days, but there was one stanza that got cut at the last minute, in the crunch to shorten Act II for Broadway. It went like this:

  Hades: Now it thickens on my tongue / Now it quickens in my lung / Now I’m stricken! Now I’m stung! / It’s done already . . .

  I loved it, but the song lived happily without it. I made one other change in London. The song used to go:

  Hades: Only one thing to be done / Let them think that they have won / Let them leave together under / One condition

  This began to strike me as too dastardly for the complex character Hades was becoming. I didn’t want Hades’s final ultimatum to be a trick, but a test. I changed it to Let them go, but let there be some / Term to be agreed upon, which had the added benefit of feeling unpremeditated, a plot being hatched in real time.

  WAIT FOR ME REPRISE INTRO

  Orpheus (to Hermes)

  What is it?

  Hermes

  Well, the good news is

  He said that you can go

  Eurydice

  He did?

  Orpheus & Workers

  He did?

  Hermes

  He did . . .

  There’s bad news, though

  Eurydice

  What is it?

  Hermes

  You can walk . . .

  But it won’t be like you planned

  Orpheus

  What do you mean?

  Eurydice

  Why not?

  Hermes

  Well, you won’t be hand in hand

  You won’t be arm-in-arm

  Side by side, and all of that

  (to Orpheus) He said you have to walk in front

  And she has to walk in back

  Orpheus

  Why?

  Hermes

  And if you turn around

  To make sure she’s coming too

  Then she goes back to Hadestown

  And ain’t nothing you can do

  Eurydice

  But why?

  Hermes

  Why build walls?

  Make folks walk single file?

  Divide and conquer’s what it’s called

  Orpheus

  It’s a trap?

  Hermes

  It’s a trial

  Do you trust each other?

  Do you trust yourselves?

  Orpheus & Eurydice

  We do

  Hermes

  Well, listen, brother

  If you wanna walk outta hell

  You’re gonna have to prove it

  Before gods and men

  Can you do that?

  Orpheus & Eurydice

  We can

  Hermes

  Alright . . . time to go

  Orpheus

  Mister Hermes!

  Hermes

  Yes?

  Orpheus

  It’s not a trick?

  Hermes

  No—

  It’s a test

  Notes on “Wait for Me Intro Reprise”

  My favorite discovery in the writing of this scene was the trap/trial/trick/test language—it felt very Joseph Campbell—the mentor “testing” the hero. The “Wait for Me Intro Reprise” evolved, for Edmonton, out of the NYTW intro to “Promises,” the one that began with Hermes’s Here’s what Mister Hades said: He said he’d let you go.

  There was another fragment of Hermes’s narration that I wrote for this spot, but never found a way to use:

  Hermes: A poor boy and a hungry young girl / Walking single file / While the music played / Brother, they looked for all the world / Like they was walking down the aisle / On their wedding day

  That image of a wedding procession haunts me still. It seems to contain the entire tragedy of Orpheus and Eurydice within it, from wedding-day snakebite to ill-fated ascent. It’s possible that the line Make folks walk single file? is a vestige of that fragment.

  WAIT FOR ME REPRISE

  Hermes

  The meanest dog you’ll ever meet

  He ain’t the hound dog in the street

  He bares some teeth and tears some skin

  But brother, that’s the worst of him

  The dog you really got to dread

  Is the one that howls inside your head

  It’s him whose howling drives men mad

  And a mind to its undoing

  Eurydice & Orpheus

  Wait for me, I’m coming

  Wait, I’m coming with you

  Wait for me, I’m coming too

  I’m coming too

  Workers

  Show the way so we can see

  Show the way the world could be

  If you can do it so can she

  If she can do it so can we

  Show the way the world could be

  Show the way so we believe

  We will follow where you lead

  We will follow if you

  Show the way

  Persephone

  You think they’ll make it?

  Hades

  I don’t know

  Workers

  Show the way

  Persephone

  Hades, you let them go

  Workers

  Show the way

 
Hades

  I let them try

  Persephone

  And how ’bout you and I?

  Workers

  Show the way

  Persephone

  Are we gonna try again?

  Workers

  Show the way

  Hades

  It’s time for spring

  We’ll try again next fall

  Persephone

  Wait for me

  Hades

  I will

  Eurydice, Persephone, Fates, Workers

  Wait for me, I’m coming

  Wait, I’m coming with you

  Wait for me, I’m coming too

  I’m coming too

  Fates

  Who are you?

  Who do you think you are?

  Who are you?

  Who are you to lead her?

  Who are you to lead them?

  Who are you to think that you can

  Hold your head up higher than your fellow man?

  Hermes

  You got a lonesome road to walk

  And it ain’t along the railroad track

  And it ain’t along the blacktop tar

  You’ve walked a hunnert times before

  I’ll tell you where the real road lies

  Between your ears, behind your eyes

  That is the path to paradise

  Likewise the road to ruin

  Company

  Wait for me, I’m coming

  Wait, I’m coming with you

  Wait for me, I’m coming too

  Company (except Orpheus)

  Wait for me, I’m coming

  Wait, I’m coming with you

  Wait for me, I’m coming too, I’m coming

  Workers, Hermes, Persephone

  Show the way

  Eurydice

  I’m coming, wait for me

  Workers, Hermes, Persephone

  Show the way

  Eurydice

  I hear the walls repeating

  Workers, Hermes, Persephone

  Show the way

  Eurydice

  The falling of my feet and

  It sounds like drumming

  Workers, Hermes, Persephone

  Show the way

  Eurydice

  And we are not alone

  Workers, Hermes, Persephone

  Show the way

  Eurydice

  I hear the rocks and stones

  Workers, Hermes, Persephone

  Show the way

  Eurydice

  Echoing our song

  I’m coming

  Workers

  Coming, coming . . .

  Notes on “Wait for Me Reprise”

  Vermont

  The idea that the chorus of “Wait for Me” could be reprised and repurposed by Eurydice during the lovers’ ascent dates back to the second Vermont production. I remember it well, because I sang it myself! Back then, there was no intro scene, so the information about the terms of the release went into the body of the song:

  Hades: Hermes!

  Hermes: Hades!

  Hades: Time to go / Time to bring this to a close / Time to lay this thing to rest

  Hermes: Orpheus?

  Hades: Orpheus / It’s all agreed / We’ve struck a deal / He’s free

  Hermes: He’s free?

  Hades: He’s free to walk

  Hermes: And she?

  Hades: To follow at his heel / And she, to follow at his back

  Eurydice: Wait for me, I’m coming . . .

  Hades: And she shall follow at his back / And she shall follow in his wake

  Hermes: And what’s the catch?

  Hades: The catch is this: / He shall not turn to see her face / And if he turns, the game is up / The deal is off, his race is run / And that’s the end of Orpheus / You’ll see it done?

  Eurydice: Wait for me, I’m coming . . .

  Off-Broadway & Edmonton

  That early stab at the reprise didn’t feel strong enough to make it onto the studio record, so I started from scratch in the workshops leading up to NYTW when I wrote Hermes’s “advisory” verses (The meanest dog you’ll ever meet . . .) and the recitative exchange between Hades and Persephone (You think they’ll make it?).

  London & Broadway

  For London, the song got a major overhaul. The first thing I added was the Show the way verse and refrain for the Workers. It was an attempt to address a long-standing note from Rachel about tracking the significance of the walk, not just for our young lovers, but for the world at large. It had the side effect of really putting the pressure on poor Orpheus. I also added the outro for Eurydice, which parallels the first “Wait for Me” outro, and became a showcase for Eva Noblezada’s earth-shattering belt.

  Finally, in my quest to respond to Ken’s note about having Orpheus “go a few rounds” with the Fates before the final battle of “Doubt Comes In,” I added the Fates’ Who are you? interlude to this song. It’s worth noting that I initially tried to put the interlude in a whole different song—“Chant Reprise”—but it didn’t work, either musically or dramatically, and this structure paralleled the first “Wait for Me.” Symmetry!

  Hades’s line used to go: It’s almost spring / We’ll try again next fall. I preferred that line poetically, and still do. But it didn’t land forcefully enough the idea that Hades was now at least somewhat willing to restore balance in the world. It’s time for spring was more resolute.

  There’s a double chorus near the end of “Wait for Me Reprise”: the first chorus is accompanied by the band, and the second is a cappella. In my efforts to shorten Act II, I tried multiple times to cut one or the other of these choruses. I remember a production meeting in London at which Todd Sickafoose declared he was “going down with” the double chorus; it felt absolutely essential to him as a slingshot into the outro. We conducted an experiment in London previews where we tried first the single and then the double chorus. The audience let us know loud and clear that there was something alchemically right about the double—their applause that night overrode the transition into “Doubt Comes In”—so we kept it.

  DOUBT COMES IN

  Orpheus

  La la la la la la la

  La la la la la la . . .

  Fates

  Doubt comes in

  The wind is changing

  Doubt comes in

  How cold it’s blowing

  Doubt comes in

  And meets a stranger

  Walking on a road alone

  Where is she?

  Where is she now?

  Doubt comes in

  Orpheus

  Who am I?

  Where do I think I’m going?

  Fates

  Doubt comes in

  Orpheus

  Who am I?

  Why am I all alone?

  Fates

  Doubt comes in

  Orpheus

  Who do I think I am?

  Who am I to think that she would follow me

  Into the cold and dark again?

  Fates

  Where is she?

  Where is she now?

  Eurydice

  Orpheus

  Are you listening?

  Workers

  Are you listening?

  Eurydice

  I am right here

  Workers

  We are all right here

  Eu
rydice

  And I will be till the end

  Workers

  Will be till the end

  Eurydice

  And the coldest night

  Workers

  Coldest night

  Eurydice

  Of the coldest year

  Workers

  Coldest year

  Eurydice & Workers

  Comes right before the spring

  Orpheus

  La la la la la la la

  La la la la la la . . .

  Who am I?

  Who am I against him?

  Who am I?

  Why would he let me win?

  Why would he let her go?

  Who am I to think that he wouldn’t deceive me

  Just to make me leave alone?

  Fates

  Doubt comes in

  The wind is changing

  Orpheus

  Is this a trap that’s being laid for me?

  Fates

  Doubt comes in

  How dark it’s grown

  Orpheus

  Is this a trick that’s being played on me?

 

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