#johncardozas

you can do all i couldn't do, glinda — so now it's up to you, for both of us.

it's all much better living it that looking at it, robert. add em up.

when your breaking point's all that you have, a dream is a soft place to land. may we all be so lucky. sugar, butter, flour.

we’re gonna be happy, little girl. not just happy enough. we’re gonna be really happy.

“Those last two lines were a repeat of the Hades and Persephone exchange in “Way Down Hadestown.” I threw them into a draft on a whim, uncertain if they would make sense to anyone. Some loved them and some didn’t; the creative team was divided right down the middle. I liked the symmetry and the idea that the young couple had, at some level, “become” the older one. But the lines seemed to require the engagement of the mind at a tragic moment when it felt better to simply engage the heart. In subsequent productions I instead had the lovers cosmically “name” each other . . . one last time.” — Anaïs Mitchell (Working on a Song: The Lyrics of HADESTOWN)

to be beaten and betrayed and then be told that nothing changes? it'll always be like this? if it's true what they say i'll be on my way

it's a sad song, but we sing it anyway cause here's the thing, to know how it ends, and still begin to sing it again, as if it might turn out this time.

"I’ve done a little bit more off-center things and I find myself more drawn to conflicted characters and flawed people. It’s different on stage, you’re telling the same story every night so your character wants to change within that story. But with a television series, you’re potentially living with this character for five to seven years so there’s a potential for change over a long period of time."