But also, the truth is, you can’t really know how you’re going to collaborate with someone until you start work.Īctually we got into our first little spat on that call, because the songs “ Gone, I’m Gone” and “ When the Chips Are Down” are in a different order on the album. We happened to have a mutual friend in common, a drummer, who put us in touch, and we spent the winter of 2012 and spring of 2013 kind of going on a couple of dates, because it’s such a huge endeavor to make a new musical together, and we really wanted to try as best as possible to make sure the fit is right. She saw my production, the original production of Great Comet at Ars Nova in a tiny, tiny 87-seat space, and she flipped for it. She had just begun working with Dale Franzen, one of our producers, and they were looking for a directing partner to help move the piece forward. Rachel Chavkin: Anaïs has been working on this since 2006 as a kind of DIY community theater project in Vermont, but we actually met in 2012, after the piece had become this extraordinary music event, via the studio album. Marissa Martinelli: Tell me a little bit about how you and Anaïs Mitchell began working together. This interview has been edited and condensed for clarity. Slate spoke to Chavkin about the value of tragedy, developing the show’s unique visual style, and how Trump’s election has altered the way a key song has been received. And Chavkin, whose previous work includes Natasha, Pierre, & the Great Comet of 1812, has once again been nominated for Best Direction of a Musical-the only woman among the 10 directing nominees this year. The Broadway run of Hadestown, adapted from the folk opera by Anaïs Mitchell, has been nominated for 14 Tony Awards, including Best Musical, where it will compete against three comedies and a jukebox musical. The Guy Who Filmed the Proud Boys on Jan. 6 Also Made Some Iconic Rap VideosĮven if you’re not already familiar with the ancient Greek myth of Orpheus and Eurydice, Hadestown warns audiences at the very beginning that what follows is “a sad song, a sad tale, a tragedy.” Still, director Rachel Chavkin says, the show’s ending-in which, as in the myth, a doubtful Orpheus turns back to look at his lover and so condemns her to Hadestown forever-elicits gasps and full-fledged cries of “No!” from theatergoers. Why the Internet Is So Obsessed With Lea Michele Replacing Beanie Feldstein in Funny Girl Herschel Walker’s Battle With His MAGA-Influencer Son, Explained A Chinese Immigrant’s Fearless Comedy Set Went Viral.
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