This transcript was automatically generated and might contain errors.

[0:01] Kate Jarecki: Hey Kate, do you like flowers?

[0:03] Joshua Keen: Yeah, I love flowers. Why?

[0:05] Kate Jarecki: You know, just, I really like listening to it.

[0:08] Joshua Keen: Is it a song?

[0:09] Kate Jarecki: Yeah, flowers. What's That From?

[0:18] Joshua Keen: Hello, hello. Welcome back to What's That From? A podcast exploring musicals we don't know, but probably should. On this week's episode, we're going to be reviewing and discussing Hadestown.

[0:38] Kate Jarecki: This is really us putting ourselves out there. We're really exposing ourselves for not knowing this one, I'd say.

[0:49] Joshua Keen: Yeah, honestly, like, I think I'm a pretty good musical theater nerd. And then these recent shows that have been coming out, I just have lost track of them.

[1:09] Kate Jarecki: I'm embarrassed to say that I shoved this show in that group. And I'm also quite embarrassed. So welcome, welcome to the journey of us discovering and overcoming our embarrassment for not knowing this incredible show Hadestown.

[1:29] Joshua Keen: So should we try a little 30 second plot challenge to get us in to give us a little brief overview?

[1:36] Kate Jarecki: Yes, we should. And it's your turn, my friend.

[1:40] Joshua Keen: You're lucky because this one I think is pretty easy.

[1:43] Kate Jarecki: Yeah, I also feel like I've seen like 50 plays that are based off of the same story.

[1:49] Joshua Keen: Yeah, you have. But regardless, I'm putting 30 seconds on the clock.

[1:54] Kate Jarecki: Okay, you ready?

[1:55] Joshua Keen: No, hang on.

[1:58] Kate Jarecki: Okay, ready? Go.

[2:02] Joshua Keen: So there is a guy and he is sad. I feel like a lot of characters in the show are sad. But anyways, he's sad and he's writing a song and he can't finish it and he falls in love with this girl. And then there's also like Hermes. He's like the narrator and he's like the messenger to the gods.

[2:18] Kate Jarecki: And there are these three fates. I guess I don't need to get into the characters. Oh my gosh, I'm losing so much time. And there's a girl and he falls in love with her. And then she ends up going to the underworld because she's like sad.

[2:30] Joshua Keen: What does that mean?

[2:33] Kate Jarecki: So basically, it's about a boy who's sad and there's a girl who's sad and then she goes to hell.

[2:43] Joshua Keen: Thank you. That is depression, the musical.

[2:46] Kate Jarecki: Yeah, so okay, that was, it was good. Except I think there's a lot, there's some side characters we didn't need to bring up, you know what I mean?

[2:56] Joshua Keen: Yeah, next time I'm not gonna get into the characters at all.

[3:01] Kate Jarecki: But it was a valuable effort.

[3:04] Joshua Keen: Because, well, I do feel like with this, with this show, there's, there's the plot, but then there's the people that tell the story and I think they're two different things. Like I think that Hermes and the fates and those things, they tell the story.

[3:21] Kate Jarecki: I mean, the story itself is very simple, quote, unquote, I feel like it's like, we're just following the Greek mythology, the tale that was told, but it's like the people that tell it and like the way that it's told it makes it interesting.

[3:34] Joshua Keen: So I feel like that's why it makes like the 30 second plot challenge hard, because you want to get into all these like side people that are really cool and telling the story, but they're not.

[3:43] Kate Jarecki: Right, like the basic story is, he's trying to write this song and finish it, they fall in love. And then while he's focused on getting that done, she gets kind of lost and meets someone that's like, hey, like, you should go to this place, this place might be better for you.

[4:02] Joshua Keen: Yeah.

[4:03] Kate Jarecki: Yeah, she meets Hades. And then he convinces her to, he convinces her that his place is better and that he'll give her a better life than what she's doing now. Because, um, they live in a world that's just like pretty sad and cold, but then all of a sudden, out of nowhere, it gets happy and springy again, and then it's about to get cold again.

[4:23] Joshua Keen: And he's like, you know, like, you don't want to go through that again. Like, it's better where I am. But then she goes down there. And it's obviously worse. I mean, it is hell. And he is the devil. And there she finds all those people who are his workers, and then she realizes that she's going to lose her memory slowly.

[4:47] Kate Jarecki: And then she realizes she's made a mistake. And then Orpheus, sad boy, singy boy, he finds out where she is and goes after her. And then also, there's another love story happening between Persephone and Hades.

[5:06] Joshua Keen: I think it's interesting, because I think like, it's honestly a story of two love stories in reverse, almost like watching the beginning of a love story between Orpheus and Eurydice. And then you have Persephone and Hades, who are kind of at the opposite end, like they're literally looking at Orpheus and Eurydice saying, we used to be like that you used to look at me like that. And now they're at the end of it. So I think it's a cool dichotomy that they put both of those together.

[5:33] Kate Jarecki: Right.

[5:34] Joshua Keen: To like, this full story. So it's not just like, oh, it's just the story of Orpheus and Eurydice. You have this added layer of like, a couple that once was like that, that now sees how they are now. I don't know. It's interesting.

[5:47] Kate Jarecki: And the character types are really interesting, too. It's so weird, like, usually when there's like, two romantic stories happening at the same time in a musical, I feel like it's like, I think that often happens in like, comedic shows, like old timey comedic shows. Like, that's the way it's standard that it's set up. It's like, two love stories, there's the main one, and then like the comedic one. And then like this one, it's like the dramatic one. And then like the more like, fun one, which is kind of Hades and Persephone, just because Persephone gets all the fun.

[6:17] Joshua Keen: Fun songs.

[6:18] Kate Jarecki: Right.

[6:19] Joshua Keen: You know, so then she's like, this fun, exciting character. But then he's also like, the devil, and you don't like him because he's causing all this trouble. And Eurydice and Orpheus as well. So, cool dynamic.

[6:29] Kate Jarecki: And I think the thing that's really well done about this show, too, is, and they say it from the very beginning, so I don't know why I was so shocked when like, it was a sad story. Like, the story itself is sad. And for some reason, like, I knew it was gonna be sad, but I still was like, no, like, why did you turn around? Like, now you turned around and you're about to escape the underworld. You had one job, Orpheus, you literally had one job, and it was to not turn around.

[6:58] Joshua Keen: And at the last minute you did, and now, like, you can never be together. But like, I think they do a good job of like, like, I think the fact that like, I forgot that it was a sad story, like, means that they did a good job of not being like, here's that one show about how love doesn't work out. Like, they do a good job of making you like, suspend your disbelief, being like, well, maybe this time it'll be different.

[7:22] Kate Jarecki: And like, that's how they tell it, too. Like, you know, that's why they have to keep singing it again and again, because like, maybe it'll turn out different, but it doesn't. I just thought that that was so cool, because I was like, literally the first song, they're literally like, it's a sad song. It's a sad tale. It's a tragedy. And I was like, oh, but maybe it's not.

[7:40] Joshua Keen: I'm like, what, like, they literally tell you exactly what's gonna happen, basically. But yet throughout the whole show, or like, throughout listening to it and watching clips of it and stuff, I'm like, it's gonna be, they're gonna be okay.

[7:52] Kate Jarecki: Right, sad musicals are so interesting. Like, I just feel like the tendency is to go see the musical, a musical, and by the end of it, feel like you're gonna see everybody get everything they want accomplished.

[8:03] Joshua Keen: Yeah.

[8:04] Kate Jarecki: But this one, like, I just thought they did a really great job. I, I'm so mad I didn't know it sooner. And I'm also so mad that when I was in New York, and like Broadway was alive, like, I didn't see it. What am I doing? Like, I'm like, all these nights, I just was like, doing nothing. I was like, come on, Kate.

[8:23] Joshua Keen: I feel like the show is so cool, though, that it's definitely gonna be around, even if I'm gonna feel like it's still gonna be on Broadway when it opens back up.

[8:30] Kate Jarecki: But I think it will be too. Even if it's not, like, people are going to be trying to do this all over. So I'm gonna say my favorite part is, um, the, how this genre of music, like, really pairs with the nature of the story. Like, I don't know, like, I don't necessarily think like Greek mythology and like, contemporary folk music go together. You know what I mean? Like, but it works.

[8:54] Joshua Keen: I really like it.

[9:30] Kate Jarecki: And that's how it first started in 2006. And then she was kind of like, I don't know if this is really gonna go anywhere. But they just kind of like performed it at different schools and stuff. And then she eventually made it into like a concept album. And then from there, it just like kept taking like new life. And it kept like, I don't know, I kind of feel like it was like a little bug in her mind that kept being like, maybe we should do more with this. Maybe we should do more with this.

[9:56] Joshua Keen: And then once Rachel Chavkin like came in and offered her idea of how she would put this into a into a show, it's like kind of a match made in heaven, which I thought was like a really cool story. Because it wasn't like she went into it being like, I'm going to sit down and like write this musical. And like, I have an idea for it. She kind of didn't have an idea. She just had these like incredible songs in this great story.

[10:21] Kate Jarecki: And I think that like this collaboration

[10:24] Kate Jarecki: Richard Trapkin directed Great Comet, and that was one of the coolest theater experiences that I had ever experienced. I didn't really know what was going on the entire time, but the music was incredible, and the way it was staged and the visuals of it was really, really cool. So I'm sure she did the same thing with this. She's such a visual storyteller.

[11:05] Joshua Keen: Yeah, and I think, too, I was watching a—so I really got sucked into this YouTube vortex with Hadestown, like really deep. I was on the 15th suggested video of things going on, but I watched a whole bunch of interviews with her, and Anais and I was like—they really kept drawing on the fact that they are two women that headed this up, and I was like, that is so cool. I guess I didn't really realize—I don't know, I feel like that's something that I wish about this show got—maybe it is pushed to the front and I just missed it, like I missed this whole thing, but I think that the fact that there's an all-female creative team that led it, that these two women or the two people's names on the marquee are two women that made this happen, I think that that is so powerful.

Anais was talking about how her daughter, she was so proud that she could take her daughter to the theater and see the marquee with two women's names on it so that she felt like she could grow up in a world where she could create something beautiful, and I was like, oh my gosh, that is so amazing.

[12:15] Kate Jarecki: That is awesome.

[12:16] Joshua Keen: Yeah. The other cool thing is that that, and it makes a statement through the imagery it uses about Hades being the king of industry and Persephone being the queen of nature and not getting along a la climate change. It's crazy that the whole song about building the wall and like Hades being like a symbol for Trump, even though she wrote that before Trump started using that as a campaign slogan, like what? Like she literally predicted that, like she wrote writing that, didn't even intend for that character to be like represent Trump and then it just did perfectly because of that song and that's what he started using as his campaign, like build the wall. That blows my mind that she predicted that.

[13:10] Kate Jarecki: Yeah, because I mean, like we said, it was written in 2006, first recorded in 2010. The New York Theatre Workshop was in 2016. Then it was in Canada in 2017. Then it was in the National Theatre in London in 2018. And then it moved to Broadway finally. So like, it definitely moved around and like, it is crazy how all these parallels like, yeah, in 2006, how could she possibly have known that these were going to be like, so such poignant, first of all, poignant phrasing, and like poignant concepts like, it's just, it's also just cool because like, it just goes to like show you like, this may have become this commercial Broadway show hit, but it was never intended to be and it was never intended to just like check off boxes to be woke or anything like she just genuinely was so passionate to write the show to make a statement and then the statement this is all about now, you know, like, that's, that's so cool to me.

[14:10] Joshua Keen: And I think it's what's really awesome about this show is that it started as music or it started from this concept album. And she's obviously an incredible musician. And I'd say I'd even like say she's a poet, like her lyrics are so poetic and beautiful in that way. And I think that you can tell when a show starts like that when it starts with something so poetic and so artistic anyway. Like I feel like every song has a meaning everything has a purpose like everything is like straight from the gut. Like even when these people sing these songs, I'm like, whoa, like that is some that is not just like, we wrote a show and now we need a song at this point because there hasn't been a song in five minutes of the plot and we just need to give this character a song like everything has such a meaning. Do you know what I'm saying?

[15:04] Kate Jarecki: Yeah, they're an emotional lesson. I feel like every time I listen to it.

[15:09] Joshua Keen: Yeah. Everything sounds emotional. Yeah. And like harmonies that the Oh my gosh, the harmonies are those are gonna say like, if we talk about music is I was like harmonies is what I'm talking about. Incredible. They sound like Ariana Grande in the beginning, like all like all the harmonies layered over each other. I'm like, who are these voices? Like they sound perfect. They sound perfect.

[15:28] Kate Jarecki: Yeah. And some of those harmonies my ears. I'm like, I can't even comprehend like, that you guys are all singing different notes right now. You don't even like they had to go home and like listen to those voice memos from rehearsal all night long. Yeah, you know, they had to drill those parts. They really had to get that in there.

[15:41] Joshua Keen: Yeah, I can't even imagine learning that track or like, I don't know if I'm not sure how the swinging of the show works. But if you have to swing all of the space, like I cannot imagine switching between them. Like that just seems like a chaotic time. You know, what's your favorite song?

[16:04] Kate Jarecki: My favorite song is the wedding song. Yeah, I feel like it's kind of like, I don't know, I just like keep going back to it. And I always feel like whenever I listen to a show, there's always like a group of songs that I like, obsessively listen to on repeat. And that's just and then I get into the rest of it eventually. But there's always a few. But it's those opening like any way the wind blows. Come home with me and the wedding song like those three that section for me is just like, chef's kiss.

[16:43] Joshua Keen: Yeah. I really like any way the wind blows. And there's another melody I just really like. Also, like I'm obsessed with Eva Noblezada. I talked about the cat. Yeah, like talked about them. Like Eva Noblezada I was obsessed with whenever she got cast in Miss Saigon like, oh, like when they did on the West End like I watched all those videos and like, became obsessed with Miss Saigon because I was obsessed with her. And then when that came to Broadway, I got to see it. I got to see her and she was incredible deserved the Tony Award over Bette Midler. And it was incredible. Just incredible singer.

[17:20] Kate Jarecki: Yeah. And amazing. And I really liked that she could do something so musical theater. I mean, Miss Saigon does have like a little bit of like contemporary almost feel it's just kind of in that post Golden Age, like kind of pre contemporary stage. So but the fact that she can do like that, like really musical theatery stuff and this folky contemporary rocky stuff. So like, I just want to see her do something else. Like I don't know what I want to see her do next. But I want to see her do something soon. She's amazing. She's also like one of the people like I could not stop watching interviews of her just because I want to just see her all the time.

[18:00] Joshua Keen: She's so cute, too. Like her personality.

[18:03] Kate Jarecki: Yeah, she's so cute. She's so real. I feel like she is just so like, down to earth so grounded. She's like one of those people I feel like that. I don't know like she doesn't pretend that like everything's great all the time. And I think that she is like just such an important person to have in the industry. Also, she's so young. And she was just like, so yeah, I just think that she is. She was thrust into fame so young. She was like 17 or whenever she went to the West End. So I'm like,

[18:36] Joshua Keen: And now she's been nominated for two Tony Awards.

[18:40] Kate Jarecki: So and I just think that she's just like so goofy. And I'm like, yeah, that's definitely how I would act. If I was like thrust into fame, like she I watched an interview with her and she was like, Yeah, Sutton Foster walked in the room, I'd probably like faint. I'm obsessed with Sutton Foster. And I was like, Oh my god, what? You're literally like the lead in Hadestown on Broadway and like you're obsessed with Sutton Foster. Okay. You know what I mean? Cool.

[19:03] Joshua Keen: Yeah.

[19:11] Kate Jarecki: Um, Reeve Carney.

[19:11] Joshua Keen: He's so good. He's great. His upper register. So cool. When he's up there like in the skyscrapers in this.

[19:17] Kate Jarecki: Yeah, he really does have to sing way up there. It's so funny to me that his like one credit is Spider Man though. I just think that that's funny. And the guy who is played Sadie's right?

[19:29] Joshua Keen: Yeah, yeah. He was also in it too. And it's funny. I was reading their bios on the website. And they are very like, he was hand picked by like you to to be in like, really amp it up. They're like, because, you know, Spider Man has its own, has its own connotation. I feel like it comes of thoughts.

[19:48] Kate Jarecki: Yeah. And then, oh my gosh, this show. I mean, actually, won eight Tony Awards. It was nominated for 14. Hello?

[20:08] Joshua Keen: Yeah, winner winner chicken dinner.

[20:08] Kate Jarecki: Yeah, it did. And it rightfully so I think it deserved everything. I mean, and I haven't really like touched on it. But like, Rachel, I hope I'm pronouncing the same. Right. Doc was the set designer. And I thought the set was so well done. Like, I noticed that it won a lot of like, design, Tony Awards. And I think that it definitely should have like these people put so much time and thought into every single detail that always blows my mind when they're like, if you look behind this couch.

[20:46] Kate Jarecki: You'll see that I've stabbed three holes representing the blah, blah, blah. I'm like, oh, you thought that much about this? Like, oh my gosh. Like, I think this is the epitome of like, they were like, let's make it like a Greek amphitheater, but also like New Orleans. But also let's make it like down in the oil drums. Also like we're in hell, but how do we represent Sprint? I'm like, oh my gosh, you guys like thought so much about this, which I think it's great that they got the recognition that they deserved for all the hard work and time they put into that. I love a good like artsy set. That's not just like a little represent. I mean, like, I do like things that are like a literal representation that feel like you're actually there in the space, like in there. I like that. But I also like the artsy, like something like really bold that like is very clear where you are still, even though it's nothing like what it actually would be, where they are, you know?

[21:47] Joshua Keen: Yeah.

[21:48] Kate Jarecki: Who else in the cast have we not talked about? Oh, Amber Gray.

[21:55] Joshua Keen: Oh, yeah, she's great. How could we forget our lady of the underworld? So great. So fun. I really like living it up on top.

[22:06] Kate Jarecki: Me too. She also just like, thrives. Like, I feel like she is just living her best life the entire show. And I think, I think I'm correct in saying she's one of the people that was in it. Also, like in the New York Theatre Workshop, like a lot of these people like had been with it for quite a while. So that's like, cool, too, because I listened to that recording, like the 2016 recording to like from that performance. And it's cool, because there's different stuff. And obviously, like lyrics changed, songs were added. But it's cool, because like Hades and her like the same. So I'm like, oh, they literally sound exactly the same.

[22:47] Joshua Keen: Yeah, good for them.

[22:48] Kate Jarecki: Yeah. Well, okay. Wait, what's the guy's name that plays Hades?

[22:54] Joshua Keen: Patrick Page.

[22:55] Kate Jarecki: Patrick Page. His voice is so low.

[23:02] Joshua Keen: Yeah. How do you even discover that you can sing that low?

[23:09] Kate Jarecki: Yeah, I don't know. Like, I sound like that when I wake up in the morning. Some of that, I was like, I can't even hear that, like the frequency that he's like singing at sometimes. I'm like, super cool.

[23:20] Joshua Keen: It is really cool. I'm like, what a niche thing to have, like that is an effective element for sure.

[23:25] Kate Jarecki: Yeah, even like, even if you didn't see him, you know, he was like, the devil.

[23:31] Joshua Keen: Yeah, he'd be like, yeah, that man's voice. He like he is in the underworld with that. That baritone.

[23:37] Kate Jarecki: And Andre De Shields.

[23:42] Joshua Keen: How do we? Oh, my.

[23:43] Kate Jarecki: Yeah, see, this is so good.

[23:45] Joshua Keen: Yeah, so fun. He, he's a legend, though. I mean, he has like, I feel like he is just always present. Like, I just feel like I take for granted the fact that Andre De Shields will like always be there. Like, he's just popped up in so many things that I'm like, oh, thank goodness. Do you know what I mean?

[24:03] Kate Jarecki: Yeah. Like John Mulaney's sack lunch bunch, if you're a fan of John Mulaney. Or like, I mean, obviously the original Wiz, but I also saw a show called Gotta Dance. It was like in it was in Chicago. I saw it in like 2016. It was supposed to go to Broadway. Not sure what happened to it. I know it's been renamed Halftime. I don't know. There's a lot of famous people in that.

[24:30] Joshua Keen: Yeah.

[24:31] Kate Jarecki: And he was in it. And he was so good, too. I was like, what?

[24:35] Joshua Keen: Yeah. So Halftime, if you're out there. I think Jerry Mitchell did that.

[24:38] Kate Jarecki: Yeah, there was a lot of famous. It was like a lot of people that were like famous. And now they're just old. Like Donna McEchnie.

[24:48] Joshua Keen: Yeah, no, it was like crazy. Also, Jonalyn Saxer was in it, too.

[24:54] Kate Jarecki: Oh, my gosh. Yeah. But it was just basically about old people on like a dance team. It was based on a true story, but Andre De Shields nailed it. He absolutely killed it. I was shaken.

[25:00] Joshua Keen: Did they all dance?

[25:01] Kate Jarecki: Yeah. Like hip hop danced. That's so funny.

[25:08] Joshua Keen: Yeah. It was an it was an interesting concept. I was like, that's one way to get all to get all the veterans back on the stage.

[25:12] Kate Jarecki: But yeah.

[25:24] Joshua Keen: Reviews are good, obviously.

[25:29] Kate Jarecki: Yeah. I feel like this was just like a no brainer kind of, especially in a time. I mean, we've kind of like talked about to like, um, like nine to five was a movie and a lot of things are based off of whatever. But I, I feel like Hadestown. Yes, it is based on Greek mythology. But that's kind of just like, it's like basing something off of Hamlet. Like, that's just like, okay, it's like, or like off of like Hamlet or off of like, Romeo and Juliet or something. It's like, okay, Starcrossed Lovers. Like, that's just the classic tale. It's not like you're like basing it off a hit movie, you know? So I feel like it's just like, so original. I feel like what they did was just art.

[26:11] Joshua Keen: Yeah, it does feel like art. And it doesn't feel like it's trying very hard, because it feels like it just successful. Like, I mean, it feels like a lot of effort was put into it doesn't feel necessarily like, effortless. But it feels like, right, like, I listened to it. And I'm like, like, yeah, it's supposed to feel something. And I do feel something.

[26:30] Kate Jarecki: It's like very, like, it's like a concert. Like, I feel like it's like the music that moves you, you know, so it's cool. Because like, whereas like other things, it's, you think, oh, the story was really fun, or like, the costumes were great. And the set was amazing. And like, whatever. But like, I think Hadestown could be performed on like a blank stage with nothing, they could sing it. And you would know exactly what was going on. And like, you would know exactly what they were feeling, which I don't think is always true.

[27:00] Joshua Keen: Yeah.

[27:01] Kate Jarecki: I also like that there were some like musical theater elements of it, too. Like, there's some good jazz and then the orchestrations are just incredible. For me, like, I listened to both albums, like the concept album and the Broadway album, and the concept album is great. And it's really pretty. But for me, like, they all kind of blend together. Because like, it's very like scaled back. And let's go back because it hadn't been expanded yet. Minimal. I mean, and yeah, I just felt like with the Broadway one, like, I was like, Oh, like, now we're here. Like, no, you know what I mean? Like, all these different orchestrations, like really separated the song for me. So I could follow it a little better.

[27:40] Joshua Keen: Yeah.

[27:41] Kate Jarecki: But both recordings are really, really cool. They are cool. And I like how they are. Like, I feel like they do a good job of still holding true to being folk music. Like, I think every person that plays those roles now and like to come will have their own rendition of it. I don't think it needs to be like, on this note, you do this exact riff. Like I feel like everyone brings their own little like, folky touch to it. So I kind of liked listening to the different ones because they're similar, but they all have their own little twang to them. That is so cool. Right.

[28:19] Joshua Keen: Big fan. What do you what would you rate it? Scale one to 10?

[28:23] Kate Jarecki: I've literally been thinking about this for days, because I'm like, I gave nine to five, like a 9.5 or something. I gave it a 9.5. I'm like, Oh my god, why did I do that? Like, I really set myself up for failure. I like I honestly feel like Hadestown has to be like a 9.8 for me.

[28:40] Joshua Keen: Yeah, I feel like it is definitely a 9.10 for me. It could be a 10 out of 10 if I saw it.

[28:49] Kate Jarecki: Yeah. I'm gonna leave it open to raise the bar after I see it. I just think I think I gave nine to five like something ridiculous. So I'm like, I only have like, some things to be better than I'm like, well, I definitely will. We started with that we can like set the count like sets the scale.

[29:06] Joshua Keen: Okay, back a little bit.

[29:07] Kate Jarecki: Okay, I was it was the first episode. I just really wanted to get out there. And I was like, Yeah, but I think it literally checks every box. It's kind of crazy.

[29:18] Joshua Keen: Yeah, final opinion. I say winner.

[29:22] Kate Jarecki: Winner winner, chicken dinner. Honestly, nothing walked so that Hadestown could run. It simply just came out of the womb knowing how to run.

[29:28] Joshua Keen: Yeah, it does. It does feel like different than a lot of other things. If anything, like maybe Spring Awakening is in the same vein as it. But honestly, like follow this plot a lot easier.

[29:41] Kate Jarecki: Yeah, literally. And like, because Spring Awakening is what Duncan Sheik?

[29:50] Joshua Keen: I guess that's kind of the same thing.

[29:51] Kate Jarecki: Yeah, like, yeah, like, but like, I don't really think Spring Awakening walks or this could run like I still feel like this is um, could walk. I mean, Hadestown could walk besides Spring Awakening and still beat it in a race. And that's the hot tea for this one.

[30:07] Joshua Keen: And that's all for this week's episode of What's That From? Be sure to give us a follow on Instagram. Our handle is at WTF underscore B way. That's at WTF underscore b w a y. And make sure to check us out on Monday, especially because we'll be revealing our new episode musical. See you next week.

[30:35] Kate Jarecki: See ya.