Part of what I love about the Adaine & Aelwyn conversations is they perfectly nail that feeling of “talking about something from our childhood/family that seems totally normal to us but would make anyone else go wtf”
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someone in chat asked for forever to translate what he and bad were talking about in chat (literally just talking about wanting to hang out) and forever essentially went “he said he wants to make out with me” he’s the Worst.
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will you tell me about the Hadestown romance?
So there are actually two romantic love stories in Hadestown! The one you’re probably thinking of is Orpheus and Eurydice. Orpheus is described as:
“A poor boy/but he had a gift to give.”
Orpheus is a singer and a poet and an idealist. He’s also a demigod, the son of a muse and just generally “touched by the gods” in regard to his music (some versions of the myth also have him as the son of Apollo, making him even more divine, but that has nothing to do with the show). He’s very neurodivergent-coded (not just a widely-held headcanon, it’s semi-canon at this point), and his main thing is that he’s “working on a song” to fix the environmental problems of the world of the play, which is pretty messed up seasonally. Speaking of which, Eurydice is:
“A hungry young girl/a runaway from everywhere she’d ever been.”
Eurydice, at the start of a show, is Orpheus’s polar opposite. She’s a vagrant, and she’s been hurt, and she’s cynical and rough around the edges. She’s one of the victims of the environmental destruction that Orpheus is trying to fix, and when she meets him, they immediately connect. Over the course of their romance, he tells her that his song will bring the world back into tune, and she believes it just as much as he does. He glows in her sight, and she melts in his arms.
And then winter comes, and Orpheus keeps working on his song, and Eurydice loses her faith in him. She knows he’s trying to bring the world into tune, but in the meantime, she’s starving and freezing. In a moment of desperation, she pays the ferryman and heads down to the warm, dry, hellish underworld Hadestown. She accepts death, in every sense of the word.
Orpheus hears about this, and he feels such incredible guilt and grief and remorse that he goes down to Hadestown (which, btw, is an underground factory where only the truly desperate go and where no one has ever come back from and that is pretty much hell) to get her back and fix the love he’s broken. He risks everything to go to hell for her.
And sure enough, he charms the barriers open and lulls hellhounds to sleep with his song. Orpheus finds Eurydice and promises her (as he does at the beginning of the play) that he’ll take her home to make things right. He sings his song for Hades and Persephone, the king and queen of the underworld, and they agree to let the lovers go - as long as Eurydice walks behind Orpheus, and Orpheus doesn’t turn around to see Eurydice.
Eurydice, against all odds, is hopeful that Orpheus will lead her out of Hadestown. Every time she’s been down, he’s been there for her, and she has no reason to think he’d leave her behind now. She trusts him, like she’s never trusted anyone. But the first loss of Eurydice and the journey down to Hadestown have drained Orpheus of the idealism he had at the outset. Just as she’s learned to trust, he’s learned not to, and doubt comes in. He thinks - feels - knows the gods have tricked him, that Eurydice isn’t behind him, that the world isn’t in tune and never will be.
Orpheus turns around. Eurydice goes back to hell. There was never any other way the song could go.
God only knows why we keep singing it.
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hey besties! yesterday I had a really great first date :-) also i’m dogsitting a new set of dogs this week and they’re already so lovely :-) things are pretty okay right now!!
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