She performed at Parents Weekend during my first semester of college. She was nobody at the time and my college was a tiny little hippie college no one knew about and someone knew her and got her to play for us. She sang some non-Hadestown songs and then told us about "this folk opera she was working on" and it was about capitalism and art and Orpheus was totally not a stand-in for how she felt guilty about neglecting her husband while she was working lol!! but he was written as a soprano like her and the villain was Hades who was a parallel to this businessman we won't name who keeps running for President even though he never gets anywhere near it 🙄🤭 and of course he has this gorgeous younger wife who's too good for him 😉 and he keeps running on this platform of "building a wall to keep out the immigrants" 🤣 and he's written as this deep baritone and he calls his followers "his children". His song is like a catechism where they go back and forth about what their belief is, and she sang it for us in her soprano voice, just her and her acoustic guitar. She has this high, kind of cherubic voice and wore these cowgirl boots and would do this stepping thing with them to keep the rhythm, and I very distinctly remember her warbling in her almost childlike voice in our tiny auditorium, "And that's why we build the wall, my children, that's why we build the wall!"
My roommate bought a bunch of Anaïs's albums from her and had her sign them at her little merch table after the show. She played them over and over and got kind of obsessed, so maybe 10 years later I was bored at work and wondered, "Whatever happened to that singer?" I Googled her and several results were about this musical she had written. Hadestown was in the middle of a successful tour of Canada, and their next stop was the West End of London, where they hoped to build up enough buzz to make a bid for Broadway after that.
Jump a couple years later, and I am about to celebrate a big birthday with my family in NYC...so of course we're gonna see a Broadway show. I waffled between Avenue Q, which I'd wanted to see for years, and Hadestown, which was new and getting some really good reviews, and finally decided on Hadestown.
I said to my mom and sister, "Remember that singer at my college Parents Weekend performance?"
"Oh, the lady with the voice and she did the stepping thing?"
"Yeah, remember she talked about writing a musical? I got us tickets to that!"
We just managed nosebleed seats in the highest mezzanine, and the performance was excellent. A week or two after I bought the tickets, the Tony nominations for that year were announced, and Hadestown got a slew of them; if I had waited another week or so, I'd never have been able to afford the tickets. I got to see the original Broadway cast and Patrick Page was freaking delightful. That number sounded so good in his deep, deep baritone, and people's reaction to it in 2019 was...very different than it had been in that obscure little college amphitheater in 2007.
In 2007 we sort of smiled indulgently at a super-indie folk singer with cowgirl boots and a big dream about a folk opera, and had a good laugh at the absurdity of this businessman and his bizzarro little plan about building a wall and when was he going to quit running just because he could afford to?
In 2019, watching that song performed on Broadway by a veteran actor and a chorus of professional actors with award-winning sets, three years after the inconcievable election of that stupid businessman and all the vile actions and change in the mood of the country that happened in his first term, but not knowing we were a year away from the start of the COVID pandemic...people in the theatre sort of looked around at each other uncomfortably, like wow...damn....
And it made the ending of the play so much more impactful.