← MickeyJoTheatre
MickeyJoTheatre
How is Nicola Roberts in HADESTOWN? | Thoughts on the new West End cast of the award winning musical
00:29:43
Loading summary
Transcript11 lines
- [00:00]
Multicare Narrator
Our state has changed a lot in the last 140 years. We know because Multicare has been here guided by a single making our communities healthier. That comes from making courageous decisions, partnering with local communities to grow programs and services, and expanding healthcare access to those who need it most. Together, we're building a healthier future. Learn more@mycare.org.
- [00:33]
Lowe's Maytag Advertiser
Upgrade your laundry routine with a durable and reliable Maytag Laundry pair at Lowes. Like the new Maytag washer and dryer with performance enhanced stain fighting power designed to cut through serious dirt and grime. And what's great is this laundry pair is in stock and ready for delivery when you need it the most. Don't miss out. Just shop Maytag in store or online today at Lowe's.
- [01:02]
Mickey Jo
Help keep our community safe and healthy during National Prescription Drug take back day October 25th. Find a collection site near you@deatakeback.com do your part to lower overdose deaths and prevent drug misuse before it starts. I just got back from what I'm pretty sure was my 11th visit to the underworld and boy are my arms tired. That punchline does not make sense because I didn't say flu. Boy are my lamps tired. Something about lamps. Boy, are my arms lamps. You get the idea. Oh my God. Hadestown welcome back to my theatre themed YouTube channel. Or hello to those of you listening on podcast platforms. Emphasis on the hell. Because today we are once again going to be talking about hello Hadestown. Particularly the West End production of the Tony Award winning musical currently running at the Lyric Theatre, which recently welcomed one new cast member, Girls allowed pop band alumnus Nicola Roberts in the role of Persephone. This not too long after a full cast change, which I also haven't really discussed to my recollection here on social media. So today we're going to be talking not only about Nicola's performance, which I just returned to the show explicitly to see, but also everyone else on stage alongside her in the principal company. Now, if you are meeting me for the first time, hello to you. My name is Mickey Jo and I am obsessed with all things theatre. I'm a professional theatre critic and content creator here on social media and I have become somewhat obsessed with the musical Hadestown. I say somewhat obsessed. There are a great many shows that I go back to repeatedly and appreciate on a deep emotional level. It still doesn't quite make the top five. It may have made the top ten at this point. I have ever more respect for the show. My story with Hadestown, having first seen it at the National Theatre pre Broadway years ago is I respected it. I didn't necessarily feel all that emotional originally connected to it. I went back to see it on Broadway. I was getting there. Only when I saw the show's London return when it opened at the Lyric Theatre, did I feel I really got it. And almost all of these reactions have been documented in various reviews that I have shared here. If you want to find out my sort of gradually increasingly positive thoughts about Hadestown, my whole thing now with the show is there is such depth and such richness to not only the lyrics and the material, but also all of the creative elements that are brought together to create this piece of theatre that I find something new to be excited about and be surprised about every single time. And so, as well as telling you about the new cast, I will also share with you some of my new Hadestown discoveries as well as giving you a little bit of an overview. For those of you not familiar with the show, but for those of you who are, we are going to be deep diving on the specificity of these new characterizations. Because if you don't know, Hadestown is a show where new cast members get to bring very different qualities to the roles and the majority of this cast have been performing in the show for several months now. Chances are you may have had the opportunity to see them in the show already. And if you have, please share your thoughts in the comments section down below. I would love to know what you think and if you enjoy listening to mine, make sure to subscribe to my theatre themed YouTube channel or follow me on podcast platforms. For those of you not seeing me right now, I'm wearing brand new Hadestown merchandise. And if you're thinking Mickey Jo that doesn't look entirely dissimilar from the Hadestown apparel that you already own and have worn previously, you would be correct. But gosh darn it if I am not a sucker for a burgundy pullover with a show logo on it. Anyway, the jumper has been purchased, the show has been seen, the cups have been raised, and I am about to talk talk about it, wait for it no longer. Here are my thoughts on Nicola Roberts and the new cast of Hadestown. So before we talk about Nicola and the rest of the company, let me give you the briefest of overviews of the musical Hadestown. Like I said, Tony Award winning musical which opened on Broadway a few years ago and then came back to the West End after a brief London run at the National. It is written entirely by singer songwriter Anais Mitchell. She wrote the score, the book the lyrics, the music, everything. And it takes multiple Greek myths that are already very interconnected. It takes the story of Hades and Persephone, as well as that of Orpheus and Eurydice, with a handful of their ancient Greek colleagues mixed in there as well. And it transposes them from the classical setting to something a little more contemporary, but also timeless, with a score that is folky and also drawing on influences from Americana and Louisiana jazz in order to speak to the world that we are currently living in. If you don't know much of Greek mythology sought to find answers to the questions that science had not yet explained away. Why does the sky not fall down? Why do the seasons seem to change? All of these other things? Only the classical ancient Greek myths answered the questions of the time. And now we live in different times, unprecedented times, challenging times, with new, different, frightening, unexplained questions. And I say unexplained science offers insights. But Hadestown takes those same stories and adapts them to questions about climate change, about political strife, and about inequality and suffering and capitalism, all done very subtly. It is not a heavy handed reinterpretation of that mythology, but it's all there in the material. And this is what I was talking about before with sort of peeling away layers of the text and finding, finding more and more of it. If this is a show that you have only seen or listened to the once and you enjoyed, but didn't quite feel like you got the full impact of it, I would encourage you to go again. I've described it previously as both something that's very therapeutic. I think the entire cyclical nature of the piece, the way that it begins, the way that it ends, and the message that it leaves audiences with is a very cathartic one. And certainly after everything that's happened with the pandemic and all sorts of other global challenges, I think it's a very timely and necessary healing piece of theatre. I've also described it as a sort of a whisky drink, one that has to be appreciated slowly and one that you steadily acquire a taste for, even if you might not like it to begin with. And I still don't like whisky, so that's not necessarily the best example, but I do now. Very much like Hadestown. Now. I spoke about the various discoveries that I've been having with the show over my last few visits. I have now seen it. I think, think for the 11th time I was trying to figure this out. Certainly I have surpassed 10 between the West End, Broadway and Amsterdam, which happened earlier this summer. You can go and check out a vlog and a review from that trip if you would like to. But for the most part, my discoveries have been about details within the lyrics. Either secret, very meaningful things or little innocuous details. Like when Persephone sings like. Like my mama always said, when you're up, you're up and when you're down, you're down. Which sounds like just sort of a throwaway generic lyric, but really explains her entire mythos and backst in a very light hearted way. Similarly, Orpheus's very first line to Eurydice being come home with me as he offers her a little origami flower that he's been making. And the whole moment is played for laughs because Hermes has just told him not to come on too strong. But also, if you know the myth of Orpheus and Eurydice, that speaks to their entire inevitable relationship. Anyway, those are previous discoveries. My most recent ones, including tonight, have to do with different creative team elements. One is about the choreography. The choreography by David Neumann as part of the overall production, directed and co developed by Rachel Chavkin, I should say. And it's in the moment that Hades and Persephone dance with each other in the second act after Orpheus's final epic, after Epic three. And one of my favorite moments of the show. I enjoy the Orpheus Eurydice plotline, but I really enjoy the Hades and Persephone stuff. I think, especially as I get a little bit older. I think it's a really interesting and substantial relationship to be able to dig into, especially when you can find the nuance beyond like, she's drunk and he's evil. And you see performers that really connect to the young lovers that they once were, who bloom once more and come alive in this moment of honest reconnection, which is what you see in the moment of their dance. So this dance is my favorite choreographic moment, I think, throughout the show. And what I realized is that it's whimsical and it's sort of light and lyrical and she is skipping around as if through a meadow. And it's all very Persephone and he's a little bit stoic and static. The way that they move is emblematic of each of their personalities. They are very different personalities, sort of unlikely lovers. But there's also something really clever in it. Here is the revelation. So if you watch this moment of dance, and it's not very long, the entire thing is based on the idea of them moving apart and then coming back together, particularly twice, he sort of lets her run out and she runs around in a circle around the revolve that makes up the middle of this set, and then runs back to him again, again. And the entire fraught tension of their relationship that has prompted the seasons to go out of whack and humanity to experience desolation and poverty and anguish is based on the fact that he has become jealous of Persephone, being, as Orpheus puts it, in the arms of the sun on the surface, while he lingers and waits for her down below in Hadestown. There is in this material a beautiful and heartbreaking parallel between Orpheus and Hades and these two men who both know what it is to just be desperately and passionately in love, and who ultimately experience the same anxiety about a lover who is out of sight. But in that dance, the fact that Hades then finds the strength and the trust to let her run around in this circle, which is very like, speaks to the rotation of the Earth, speaks to the cyclical year, the calendar, the seasons, and then come back to him, is sort of indicative of the fact that Orpheus's song has begun to fix everything, which is what he wanted to do in the first place. So I love that bit of choreography, and you see it in so many other little moments of this dance as well. It's all about the two of them moving apart, but then coming back together again. The other thing which I noticed tonight for the first time was in the lighting design by Bradley King. The most obvious lighting moment in the show is in Wait for Me. I have it on the back of this jumper. For those of you looking at me right now, there's a lovely little Wait for me design, if you could see that. And Orpheus travels down to Hadestown in pursuit of Eurydice, whose departure, therefore, he did not notice because he was trying to write a song to save the world. We've all been there, let's not judge, until you also have composed a melody which is so beautiful it eradicates global warming. But as he's singing this, there are various lamps brought onto the stage connected to long cables, which in some productions are pushed out to swing over the audience. They don't that in London because of mathematical technicalities with the proscenium, but they do still go nuts nonetheless. And at the end they move up as he is lowering down. And not only that, there is a very bright lighting effect from above, which I thought this evening really spoke to the disappearing surface world and really just transported us down to the bleak darkness of Hadestown, which once we arrive to it because it's also this industrialized representation of capital. Capitalism has its own very different character of lighting. Anyway, those are just a handful of my thoughts from some of my most recent visits to Hadestown. I will be back at the show again before too long and I will find new things to get excited about, because I always do. There is so much you can keep appreciating about this show, but in particular, we are here to talk about the performances. Let me tell you about Nicola Roberts as Persephone. So for all of my musical theatre fans who don't necessarily know the background here, Nicola Roberts, who has just taken over in the role of Persephone a couple of weeks ago in the West End, was in a British pop group called Girls Aloud. If you've not heard any of their stuff, they had a couple of bangers. Go listen to Sound of the Underground, which, by the way, works very well as a sort of thematic Hadestown companion playlist. It's not giving you the same feel musically, but the words, it's all there. Persephone would love Sound of the Underground that much. That much we do know. And Nicola is not the only alumnus of the band to go into theatre and musical theatre. Kimberly Walsh has done a couple of musicals. I saw her in Sleepless, the Sleepless in Seattle musical. The Artist, formerly known as Cheryl Cole, now best known as Cheryl, was also in 222 a ghost story, a play that she was admirably decent in, better than some other predecessors in that role, it has to be said, maybe even the best of the few performers that I saw in that particular part. And this is not actually Nicola's West End debut, although the production, which I believe was, got sadly and cruelly interrupted because she was part of the West End transfer of the Donmar Warehouse revival of City of Angels, which opened at the Garrick Theatre, literally began performances in March 2020. I had tickets to see it, I never got to because the run obviously was interrupted by the pandemic and the shutting of theaters and the end of the world theatrically. And it's one of a handful of productions which devastatingly never reopened. But what's nice is that almost everyone from that company has now had the opportunity to go into other shows. Vanessa Williams is back in the West End in the Devil Wears Prada. And now Nicola Roberts, five years later is back in the West End as Persephone in Hadestown. And I'm pleased to say I think she's doing a really great job in the role, certainly in the face of some of the more egregious stunt casting of pop artists and celebrities that we have seen in musical theatre before. I'm thinking particularly about when Waitress was in the West End, but also in a handful of other shows. Very often we see non actors taking to the stage and not only are their shortcomings in the acting performance, but also sometimes bafflingly, the singing of it all constitutes a little bit of a struggle. And often that's because, you know, the stamina to perform a vocal role nightly. Eight performances a week can be very different to a pop career. But Nicola sounds fantastic as Persephone. It's a clean and very jazzy vocal tone, one that lends itself really well to the nature of her music. It doesn't. Doesn't feel as sort of rough or jagged as the character occasionally can, which is no bad thing. But that's not a choice that Nicola is making. And so her Persephone with that feels a little bit younger. This sense of youth, this sense of springtime, this almost sort of Ophelia from Hamlet kind of a quality is evoked in her performance and her aesthetic. She has an auburn, like ginger Persephone wig that with the green dress and all the colorful flowers, works beautifully with the very alabaster skin tone that she has. And where her Persephone particularly excels is at the top of the second act when she reopens the show after the interval with a performance of Our lady of the Underground, which she performs at this vintage microphone that she takes off of a stand and halfway through which there is an extended instrumental. And she introduces by name all of the different musicians on stage by their real names. And this moment has always felt very conducive to somebody in the role, and there have been many of them before. She is not the first recording artist to go into Hadestown in the role of Persephone, who has this kind of a background, doing gigs, doing concerts. And it sort of takes the show to a different place where the songs become almost semi diegetic, which is to say that these characters are actually singing and not just articulating their feelings musically. And with casting like this, it starts to invite a comparison of Persephone as a sort of a jazz singer kind of a character, and an awareness of that being who she is. She's also drinking heavily to mask her pain and her frustration in her relationship with Hades. It's very the second or third act of A Star Is Born and all of that, I think, works really well with her. The cast feels cohesive the other issue that you sometimes have with casting like this is that it kind of pushes the whole thing out of balance, but that doesn't feel like it's the case here. The one thing that I would love to see her develop even more in the role is her commitment and passion to some of these acting moments, because everything is played quite subtly and quite small. She's almost like this very elegant Victorian doll with these incredibly subtle facial expressions. And I think there are particularly moving moments emotionally in the material that I would love to see her connect to with a little more openness and vulnerability. Perhaps it's also completely in contrast with her predecessor in the role, Victoria Hamilton Barrett, whose Persephone was several shots of tequila deeper. And who was this L. Firework on stage, as she so often is, she brought an extraordinary amount of energy and passion and vibration to her performance. I made sure to catch her in the role before she departed to go and chase Paddington Bearer around the Savoy Theatre. True story. And what I love so much about Hadestown is Nicola is playing a completely different character. There are so many shows where understudies and replacements are essentially having to try and fulfill the same blueprint. Les Miserables, Phantom of the Opera to a certain ext are those kinds of shows. But something like six, something like Hadestown, you get to really reinvent the wheel every time. And performers come in with different accents from completely different backgrounds, but not only that, with different interpretations of these characters. And she feels much more the kidnapped princess. There's something very sort of ethereal and earth spirit about her. She has that sort of goddess like quality. And if I made it sound like there's nothing going on facially and she's not acting, then that's not the case because she is not only acting through song, she's also reacting to the moments that are happening around her. There is a resentment towards Hades and then an admiration for him when he changes and an indignation when after all of this and after they come back together, he still says when Orpheus asks, can we go home? That he doesn't know, she responds very visibly to that. There is just, I think, a comfort level in terms of giving herself over to these reactions. Because a lot of the stuff that she's doing on stage is done silently. And I'm not suggesting Adler slipping through the material, but it's that acting thing of, like, big gestures that don't necessarily trickle through the rest of the body or connect to something real. It feels a little bit more like you're doing charades. And Persephone is a tricky one. The London production in particular has always had a whole multitude of different accents going on right now. Cedric Neal is American, Dylan Wood is Scottish, Desmonda is Indonesian. You have all of these different voices. And it's almost always Persephone who is the hardest to place because she has the least spoken material. She's almost always singing. And because of the style of the music, even British and Irish performers can end up sounding very sort of mid Atlantic. So there's not a tremendous clarity around Nicola's own accent. And I think as much as anything else, alongside a company of performers who have such individual takes on the role, she could probably make make more specific personal choices. But then, you know, she is far less experienced on stage. So to be giving as robust a performance as she is, I think is still a real success. You could certainly go to Hadestown in the West End right now, not knowing the backgrounds of any of these different performers and it would just feel like a cohesive company. Speaking of which, let me tell you about some of the other principal performers.
- [21:07]
Xero Advertiser
Take control of the numbers and supercharge your small business with Xero. That's Xero. With our easy to use accounting software with automation and reporting features, you'll spend less time on manual tasks and more time understanding how your business is doing. 87% of surveyed US customers agree. Xero helps improve financial visibility. Search Xero with an x or visit xero.com to start your 30 day free trial. Conditions apply.
- [21:37]
Fin AI Advertiser
AI is transforming customer service. It's real and it works. And with fin, we've built the number one AI agent for customer service. We're seeing lots of cases where it's solving up to 90% of real queries for real businesses. This includes the real world, complex stuff like issuing a refund or canceling an order. And we also see it when FIN goes up against competitors. It's top of all the performance benchmarks, marks top of the G2 leaderboard. And if you're not happy, we'll refund you up to a million dollars, which I think says it all. Check it out for yourself at fin AI.
- [22:14]
Mickey Jo
Now I want to talk about Cedric Neil as Hermes, who I actually had the chance to sit down with recently. If you would like to hear Cedric's take on Hermes in his own words, then you can go and check out my chat with him here on YouTube on podcast platforms. But Cedric is, and it feels relevant to point this out, a man of faith in real life. There something so spiritual about his connection to this role. And the way that he interprets this role, he feels very much like a spiritual leader and that he is channeling that sense of faith and that kind of reverence into the material. It also, on a far more frivolous note, sounds absolutely glorious. And there is such a connection in terms of the meaning of his vocals with everything that he is singing. It's not just riffs and runs for the sake of it, but it does sound absolutely fantastic. I don't know if I've ever heard Hermes sung with such fluidity and with such vocal prowess, but almost anything that you hear Cedric Neal get his magical throat around is going to be the best vocal rendition of that song that you have ever heard. I'm just obsessed with every time and I'm not going to be able to do it well. But he does any kind of like a ho like of riffing down on a note with this lovely fluid little waterfall of melody that he does. These beautiful little melismatic sections. He is a vocal master. And it's so interesting again seeing him in comparison with Andre De Shields, in comparison with Melanie LaBarry, because he finds joy in different moments of Hermes. He finds playfulness. He is. Is very much a mischievous sort of a God. When he is telling Orus about the road to Hadestown, he's kind of enticing him to ask. He is willing Orus to ask the questions and want to go on the journey. And when he's getting him to say, like, how far would you go? There's an answer that he wants to hear. And he's like, yes, right answer. Now I can tell you where we're going and. And you can perceive the love that he has for Orpheus and for Eurydice and this strained connection with Hades and this enormous fondness between him and Persephone. This is a Hermes who is hugely invested in the story, who is as pained as we are ultimately by the tragedy of its ending. That's not a spoiler alert. He tells you at the start. It's not my fault if you are not listening. Oh, speaking of which, incredible gasp this evening. Whoever like sharply and took breath stalls left in Hadestown at the Lyric Theatre on this particular Tuesday evening. Remarkable work. Now let's discuss Orpheus and Eurydice. Orpheus is played by Dylan Wood. I am sure I must have spoken about Dylan at some point here on social media, because Dylan has been in the show for a while now. I think he is terrific. Top three, maybe. Top two orei that I have ever seen in my entire life. He is sensationally good. I spoke about accents. He is Scottish. British, which means there are a couple of occasions when rather than saying yes, he says aye. So this happens twice in a row after he sings Epic 3, when Eurydice says Orpheus and he responds I. And then she says, you finished it about the song. And he cheers, aye. He is so endearing. He is so sweet, so charming. He delivers a really phenomenal. If it's true in the second act, which is my favorite Orpheus moment, it's even better than Wait for Me. Trust me, it is. And he sounded so great tonight in the upper register moments. He has never sounded so good. This lovely heavenly, floating quality in the falsetto sections of Epic, it genuinely convinced you, as it needs to, that this is a sort of a musical prophet capable of singing the world back together again. You have to believe that Orpheus has a gift and Dylan Wood genuinely does, which makes the performance very easy to enjoy. And since we're talking about vocals, we have to talk about the current Eurydice. Desmonda Cathabel. Desmonda is this rising star in musical theatre. If you watch the ITV casting series Mamma Mia. I have A Dream, she was one of the contestants on that, trying to win the role of Sophie. And even though she didn't, she has been going from role to role. She was in Miss Saigon at the Sheffield Crucible. She was in From Here to Eternity, the London return of that at the Charing Cross Theatre. Toured around the country as Princess Jasmine in Aladdin, and now is a West End leading lady as Eurydice in Hadestown. Sounding phenomenal. Opting up in the first act in those Shelter Me, Harp Me moments, making them even higher than they already were, which was pretty damn high in the first place. She has one of those really remarkable voices with this stratospheric belt that is full of emotion, very kind of Disney princess quality. And I've seen her in almost all of the roles that I just mentioned. I think this is probably my favorite performance of hers yet. I think she has really come on as an actress. There are a couple of moments in the first act where I want her to commit even more in terms of the honesty of her storytelling. I think she's also a hilariously funny performer. I can't wait to see her in something where she gets to be goofy and comedic and modern. And for the most part, Eurydice kind of like suffers and then metaphorically dies, which Desmonda does very well. Like anguish filled solo song, ballad moment. Still, her wheelhouse in the first act. It's declarative moments when she's delivering dialogue and saying things like we need food and like the wind and Orpheus, it's all too much. There's just a couple of those where I don't 100% believe her and I just need a little bit more sincerity in terms of her pain and woe and fear. I think there's a fearful quality that needs to come in because she has what she needs in terms of confidence. And it's nice to see Eurydice who finds moments to laugh in the first act. And there's something really intriguing about the way she notices Hades and then giggles through Orpheus leaping in front of her after she's sung. Kinda makes you wonder how it feels and sort of pre flirting and foreshadowing what that relationship is going to to be. Speaking of Hades, I've seen most of this cast before, but when I went to go see Victoria Hamilton Barrett before she left, I did not get to see Chris Jarman on as Hades. I saw a brilliant cover performer. But I am so glad I got to go back and see Chris because he was excellent. He is only the first Hades in the West End, despite being the fourth principal actor to do it, to have a British accent. And he has, I think, an East London accent. It's a some kind of London accent accent, which works really well for this material. I've seen some great Hades's recently and I love any that allow you to glimpse through the brick wall of it all and see the young man that was. And he has this staring match at the start of Epic with Dylan before he begins. And the symmetry between them is so beautifully illustrated in that moment. But also when he sings the melodic line from Epic, when he sings the la la la la la la la. That's really beautiful as well. There is a vulnerability and a softness to the way that he plays it, which is so well contrasted by the brashness and the villainy of his characterization. The rest of the time he is sort of snarling and spitting out these lines. Lines in why Do We Build the Wall? Very much drawing on all of the political leaders invoked in that song. It's not explicitly about Trump. It was actually written pre Trump and pre the wall of it all. But if the snakeskin boot fits, as they say, he also. And this is something people often ask about. Hades is capable of reaching the depth of the lower register. So it has that booming and serious and sort of darkly seductive quality. But also his voice changes so much. There is such a different timbre to the upper sections of his voice so you can feel the transformation, you can feel the levity as all of that melts away. And you can really hear young Hades, young Hades in love when he's singing in that higher part of his voice. Now those are my thoughts on the principal performance. Hadestown is nothing without its brilliant ensemble, without the fantastic actors playing the fates, playing the workers, all of the brilliant on stage musicians, the many, many swings that I have seen recently, including at tonight's performance, fantastic work, some really eye catching performances, and a show which, the more I see it, never disappoints me. Those have been my thoughts about the current West End cast. I urge you to go and see it if you haven't already already and make up your mind for yourself. If you have, let us all know what you thought of them in the comments section down below. And thank you so much for listening to my thoughts. I look forward to chatting more about Hadestown soon. Inevitably. In the meantime, if you enjoyed listening to this, then make sure to subscribe to my theatre themed YouTube channel or go follow me on podcast platforms if you are just meeting me for the first time. If you would like to know more about Hadestown, I have many more videos about it. Do not worry, you can go and check out all of those next and stay tuned for some more on the horizon. Within the next six months there will probably be another substantial cast change for Hadestown in the West End. Hopefully I might get to go and see it on Broadway again before too long. But for now, thank you so much for listening. I hope that everyone is staying safe and that you have a stagey day for 10 more seconds. I'm Mickey Jo Theatre. Oh my God. Hey, thanks for watching. Have a stagey day. Subscribe.
- [32:11]
Fin AI Advertiser
Acast powers the world's best podcasts.
- [32:14]
Mickey Jo
Here's a that we recommend.
- [32:18]
Lexi and Nicole
Are you a fantasy reader looking to cure your book hangover? Then welcome, welcome welcome to the Fantasy Fangirls Podcast. I'm Lexi, older sister and fantasy lore nerd. And I'm Nicole, younger sister and romantic at heart and we love exploring these stories, worlds and characters well beyond the last page. Fantasy Fangirls is not your typical book Deep Dive podcast. When we say Deep Dive, we mean Deep Dive where every episode covers a a stretch of chapters and is structured with five segments to easily follow along. We are currently Deep Diving Quicksilver by Callie Hart in the lead up to its highly anticipated sequel Brimstone. We're so excited. We hope you join us as we travel through the Quicksilver to dive deep into literary and character analysis, theories, lore, themes, and so much more.
- [33:02]
Mickey Jo
ACAST helps creators launch, grow, and monetize their podcasts everywhere.
- [33:08]
Fin AI Advertiser
Acast.com.