Way down… Hadestown… way down under the ground. And it’s the show that has swept the nation, captivated the hearts of my generation and their generation and the graduating seniors (class of 2026) at Children’s Playhouse of Maryland could not be more enthusiastic and passionate about getting to perform in it as their final production with CPM. In the fourth annual “Graduating Seniors Interview” we’ve sat down with this year’s group— a total of five individuals, who have spent varying amounts of time performing with CPM and gotten to talk to them about their experiences in the program, about theatre in general, and most importantly about this sensational production, Hadestown. (As a general note, we’ve tried to indicate which specific questions/answers contain major spoilers but as the whole plot is essentially one big spoiler, be aware as you read this interview!)
I cannot tell you how excited I am to be here with you all. This is the highlight of the spring for me because you guys always have such wonderful things to say! And Hadestown! What a special show! Remember, no wrong answers, just speak whatever comes to mind. And we’ll start off easy— tell us who you are, who you play in Hadestown and what number production at CPM this is for you.
Miranda Cockey: I’m Miranda Cockey, I’m 18 years old, this is my seventh show I have been in at CPM and I am a Fate.
Allyson Gray: My name is Allyson, I’m playing Hermes, and I think this is my 12th show at CPM.
Kara Neat: I’m Kara Neat, I’m a Worker, and this is my fourth show.
Jayde Wild: Hi! I’m Jayde Wild, I am a Worker and this is my seventh show with CPM.
Max Ozbolt: Well hey, I’m Max Ozbolt, I’m playing Orpheus and it’s either my 12th or my 13th.
Oooh. I really want it to be your 13th because that just sounds magical.
Max: Yeah, I think it is my 13th CPM show.
13 it is! That is awesome. So it sounds like we all have different numbers of shows we’ve done here, do you remember what your first show was with CPM and who you played and when it was?
Miranda: The first show I was in at CPM was Descendents and I played Doug. (December 2022, Descendants at Children’s Playhouse of Maryland.)
Allyson: My first show was My Son Pinocchio Jr. and I was ensemble. (March 2015)
Kara: My first show was being in the ensemble in Jesus Christ Superstar. (May 2023 Jesus Christ Superstar at Children’s Playhouse of Maryland.)
Jayde: I was ensemble in Cinderella. (March 2023 Cinderella Jr. at Children’s Playhouse of Maryland.)
Max: My first show was Matilda in 2019 and not only was it my first CPM show but it was my first ever show. I played one of the kid-ensemble and I got to swing on the swing. (September 2019 Matilda at Children’s Playhouse of Maryland.)
I remember seeing that one, Max. I couldn’t find my “I’ve been to Chokey” pin and was very upset about it. I think I remember seeing Cinderella too. I know I saw both Descendants and JSC, but I think Pinocchio may have been before I was consistently covering CPM, I’m so sorry, Allyson, I’m sure it was wonderful. Just like I know Hadestown will be wonderful. Speaking of, how familiar are we or were we with this show—
Max: For the record I just got a glare from Ms. Mandy here, haha!
Absolutely you sure did because isn’t this your like fourth or fifth time playing this role in Hadestown?
Max: Actually just my second!
Oh wow! I feel like I had heard about more productions with you as Orpheus. At any rate, how familiar with this show were you guys before you came into it, what was your working knowledge of it before you came into it, and why did you want to come out and do it?
Miranda: I’d seen it twice at The Hippodrome and I really fell in love with the Fates. I was just always drawn to them, I think they’re the coolest role, honestly. And I’ve really always wanted to be a Fate ever since I saw it the first time.
Awesome. Allyson?
Allyson: I saw it at Hershey’s theatre and I really loved it. I also really love the music and it’s my senior show so I thought it was a really good one for that.
Kara: I haven’t listened to it, I hadn’t seen it before coming out. But I do just love it now and I love Greek Mythology.
You do? Were you familiar with the tale of Orpheus and Eurydice before you came into this?
Kara: Oh yeah.
That’s very, very cool. Jayde?
Jayde: So I’ve never seen it. I came in having never listened to any of the music from it, I still kind of don’t know what it’s about. But I’m chilling. And I love it.
I love this but I have to ask— if you knew nothing about it— why’d you come out to do it?
Jayde: Let’s be for real. Every teen show that I’ve done here I didn’t know anything about. Jesus Christ Superstar I knew nothing about. Rent I still don’t understand fully and I was in it. But it’s an honor because little freshman me saw that post four years ago from the interview you did with the seniors in Jesus Christ Superstar and I was like “I wanna do that when I’m older!”
*COLLECTIVE GROUP AWW*
Jayde: And I did. And here I am. And I’m really happy about that.
I love that you come into these shows completely blind and oblivious but are still having this fantastic time. That makes my heart sing. Because there will be another young person out there who reads this, realizes that they don’t know anything about these shows but then also realize that neither did you and they’ll see that you had a great time and maybe that will be the impetus they need to come out to audition for a CPM show. Max?
Max: In stark opposition to Jayde, I have been in this show before. Once before, Miss Mandy, just once before. Unlike Anastasia which I’ve been in three different times and I’m never going back. But this is my second time being in the show, second time playing Orpheus. This show has been my favorite show since 2020. I saw it on Broadway with the original cast, except for Amber Grey, and I really fell in love with it. Doing it the first time, it felt like a dream came true. The rights had come out— I remember I was sitting at my lunch table at school— and I saw that Concord Theatricals had released ‘rights to Hadestown (Teen Edition) and I got up from the table and started jumping around and screaming.
This is a show that I would do a million times over. Unlike Anastasia, but maybe we strike that, I don’t want Ahrens & Flaherty coming for me! But seriously, I’m just extremely happy to be able to do it again and I would do it again and again, a million times if the opportunity presented itself.
I’m extremely happy to get to see you do it. What is it about Hadestown that just speaks to you, that really just lands for you, or perhaps speaks to you more so than maybe other shows?
Miranda: With the Fates, I love the challenge that I get. Being a Fate means I get to be almost every voice part in the show, going from soprano, soprano II, alto, I get roll through that the whole show and all those different vocal parts. I love the challenge of the music with this show. I think it’s really fun and I love a good challenge with a show.
Allyson: So to be honest, when I started Hadestown I kind of hated it. Maybe it was that I just didn’t have a understanding of the story. He was so close, and then he turned around. And I was like “DUDE.” But I get that that is the whole point right there. How can you come so close to something but then still lose it all and I think that that is a very impactful message.
Have you never had that happen to you anywhere in life, where you’ve put a lot of effort into something but then for one reason or another— be it your own or circumstances out of your control— it just didn’t work out?
Allyson: Yeah I’ve definitely experienced that and I think that’s why there’s such a connection with this show, I think everyone has experienced that so everyone can relate to it. It’s a beautiful message.
Kara: I agree with Allyson, it’s a great message. I like how deep the show is, especially the lyrics and the dancing that Lauren (Choreographer Lauren Stewart) has done, everything has a meaning behind it. Every little thing has a purpose and I really like that.
Jayde: I think that because this is my last CPM show, this is going to be something that I remember for the rest of my life, especially because I joined CPM only after I had just two musicals at my middle school. When I got into the school that I go to and found out that it’s only the seniors at that school who get to do the musicals— because I’m in the vocal prime— I thought “Oh my gosh! I’m never going to get do a musical again! What am I going to do?” And I’ve gotten to do so many because of CPM. And this one is going to stick with me more than others. It’s the end of an era and just getting to know everybody here, getting to make all of these amazing friends, it’s all been so incredible and I’m just so happy to have gotten to experience this in the past four years.
Oh my gosh, I love that so much! Max, I know you mentioned seeing the original cast on Broadway and I’m jealous, let me tell you, but what is it about the show that draws you?
Max: What draws me into this show is that everything about it— from its characters to its score, its tale and story based on Greek myth— it’s just so unique and beautiful. Specifically, I am in love with the score. For those who don’t know— a history lesson on Hadestown and its origins. It began in 2011 as a folk album by Anaïs Mitchell. There was no semblance of it being a musical. It was a tale, it had a story that went top to bottom but it was just music, just an album. By nature of it being a folk album, it was very jazzy, very non-conventional, which makes it very different from anything you will ever see on Broadway. People don’t do this, they don’t write music like this. It has evolved over time, become a little more ‘poppy’ and maybe a little more ‘Broadway’ but the jazz roots, the soul roots, the folk roots are still present, they’re right at the forefront. It sets apart Hadestown in my mind.
What really gets me, as the characters are based on Greek legends and myths, the characters feel less like people and more like archetypes of factors of the human spirit. These people, they represent a lot of different things that live in a lot of different people. Anybody watching this show can see themselves in versions of these characters. Anybody playing these parts can play them in so many different ways. These Greek Gods, they obviously have quirks and individual components to their personalities but you can really mold those characters to who you want them to be. And who you see in them. And I think that’s really beautiful too.
Oh wow. I’m blown away but that beautiful expression. I feel deeply educated and moved at the same time. That answer was superb; well done! Now, tell me a little bit about the character(s) that you are playing and how you are finding yourself relating to those characters, how it’s similar or different from other types of roles that you’ve done, either here at CPM or elsewhere.
Miranda: I’m a Fate and there are six Fates in our production. I get to share this role and be this role with five other people and it’s really interesting. We are basically the ‘minds’ of everyone. We’re kind of like everyone’s self-conscious, which is really, really cool, honestly. And it’s very different from any role I’ve ever played. It’s very magical. It’s very— oh, what’s a good word? I don’t know, it’s hard to describe. But it’s very cool. The Fates are with everyone, we’re everyone and we’re everywhere. It’s just so cool!
And what about you, Allyson, with Mrs. Hermes?
Allyson: I would say I have never played a role like Hermes before. Since she’s the storyteller, a lot of it is actually interacting with the audience. Sometimes I’m interacting with the characters but most of the time I’m explaining what happens. I think what’s interesting about Hermes is that she knows how the story goes and I think there are definitely moments— especially with Orpheus— where I want to redirect him. I want to tell him “don’t do it!” but I can’t. It’s been really cool trying to figure out how to weave that into my acting and portray that message. She knows it all but can’t actually change the course of the story by intervening.
I love that. Both you, Allyson, and Hermes, knows what’s about to happen every step of the way but you can’t— wow, you have so much insight there. I love that. Kara?
Kara: I feel like this role is very different. The whole thing with the workers is that they don’t have personalities, which is very different from any ensemble character I’ve ever played. You want to have all the personality, you build your character on your own when you’re in the ensemble, but with this you’re purposefully nothing and no one, so it’s a very different type of acting and expression. I don’t know, maybe that’s not right—
No, no. Remember, no wrong answers. This is your opportunity to be expressive and share your opinions and feelings and I love that answer because the workers are, in a sense, are these hollow vessels. And you’ve captured that perfectly in those words. Jayde?
Jayde: I fully agree with Kara. I’ve always been an ensemble girlie! And I love it! But I really found, especially with these choreography rehearsals, I’m so used to forcing myself to have this cheesy smile all the time, but with this it’s “oh my gosh, I’m not allowed to do that, what am I supposed to do with my face?” It’s been really different. Both with being a worker and the past couple of shows I’ve done here, I’ve really found a love for being in the ensemble, which I used to be so disenchanted with it. I used to think that the ensemble were just the background and nobody paid attention to them. But I came to the realization that they’re really, really important. I also used to be the person who hated everything about choreography and dancing, but I’ve come to enjoy it a lot more and I’ve learned a lot.
I think Mrs. Hermes even has a line in this show about the ensemble being the hardest working…Allyson, help me here?
Allyson: Yep. “To the hardest working chorus in the Gods’ almighty world!”
Ah. See? That proves your point there, Jayde. Now, Max, I know you have quite the storied relationship with Orpheus, this being your second time down the road with him.
Max: I think that Orpheus is one of the most beautiful and most heartwarming characters and personalities that you will ever see in a musical. All he is— is a boy with his lyre and his morals and his heart and a lot of love to give. That’s what drives him throughout the story. His love for the world, his love for Eurydice, and at times they kind of compete with each other, I mean he ignores her to try and write a song to save the world but he’s still in love with her. I just think that he’s an embodiment of caring and of hope.
I resonate a lot with Orpheus because he’s a musician and a lover boy. I see a lot of myself in him, which is kind of why I fell in love with the show in the first place. This is the perfect part for me; I felt seen. I think that his journey is one so beautifully tragic and that it’s a gift to be able to step into his boots and play his lyre.
What is the moment in Hadestown, whether you are actively a part of that moment or not, that defines the show for you personally? WARNING THIS QUESTION/ANSWER MAY CONTAIN SPOILERS. IF YOU WISH TO NOT HAVE SPOILERS, PLEASE SKIP TO THE NEXT QUESTION.
Miranda: Okay, I have one. The Fates are kind of a part of it but it’s after the song “Papers” – aw, crap, Max, was that yours?
Okay, hang on, as individuals you all may find that certain moments, though they are the same moment, will mean something to you for different reasons, there’s nothing that says you have to each have a different moment.
Miranda: Oh okay, cool. So it’s a very big moment in the show and it kind of changes Orpheus’ motives. It makes him buckle down and “let’s go.” And the Fates are kind of hanging over him like “I don’t know, what’s happening, you gotta make a choice.” It’s a very powerful moment.
Absolutely. And like I said, if you guys find that you’re landing on some of the same moments, that just speaks to the universality of the show. That particular moment in any one show could speak to a whole host of people. And just because that moment hits for Miranda and the moment is the same one Max is thinking of, doesn’t mean it hits the same for Max, even though it’s the same moment. And now that I’ve hijacked the question…Allyson!
Allyson: I’m struggling to pick a moment! There are at least two. I feel like there’s one moment when Eurydice is choosing— she’s making her choice. I have the coin bag, and I know she’s going. I feel like that’s such a hard moment because Hermes has a straight face in that moment. And me personally playing that moment, I want to be upset. She’s making that choice and the idea that she’s giving up on herself because she has nothing else— that really makes me want to express things but Hermes can’t. And again I think that happens when Orpheus— near the end— he’s getting really in his own head and the Fates are singing— and then he does the thing— and it’s really powerful. Because that can happen in real life too. When you’re really stuck in your own head and you don’t have any of that hope.
Oh wow. That’s a stunning answer. And we’ll get clever with some of the phrasing even though I will die on the hill that they tell you in the very beginning of the show that this story has happened before, it does not end well, and that you’re going to see it not end well. I remember seeing it for the first time, wholly being drawn into the story and completely forgetting that they tell you right at the start how it’s going to end. And I was still so blown away.
Kara: I basically want to say that. What you just said about the ending. It’s the ending— telling the story over and over again. Greek mythology is a story that gets passed on, over and over again. You’re just passing down a story. And we’re doing multiple runs of this show but it never feels like we’re just running and rehearsing the show, it feels like we’re telling the story fresh and new each time, again and again. The whole show is so full circle, it just keeps going and going.
Jayde: I need the question one more time.
You got it. What is the moment in the show, whether you and your character are a part of that moment or not, that defines the show personally for you?
Jayde: I feel like maybe during “Papers” because for the workers specifically— Lauren was talking to us about how our character, as a worker, might be feeling in that moment. Are they all for doing what they’re doing with Orpheus? Or are they holding back? Or are they doing it because they’re being told to? What are they thinking in their mind? Do they feel good about it? I think that’s a really good part for the workers to really just think about who we really are in the show.
I love that so much. Max?
Max: Okay. I could talk about “It’s True” or I could talk about “Epic III” but I think “Epic III” might be a bit spoiler-y.
You talk about whatever you want to talk about and we can mark it as ‘spoiler’ like we did last year during the Rent interview and everyone kept talking about a certain moment with Angel. Speak your mind, Max. *S*P*O*I*L*E*R*S*
Max: There is a point in “Epic III” which is the culmination of the song that Orpheus has been working on for the entirety of the show, possibly the entirety of his life. He’s singing it to Hades and it’s really the climax of the show— the turning point in Hades and his love story with Persephone. There’s just that moment where the melody of “la-la-la-la-la-la-laaaah.” And I’m sure that’s going to read well. But that melody, all the music goes out, it’s just the voices of Orpheus and of the workers who have risen up and stood with him. And The Fates who are now on his side, no longer voices in his head. They all come together. It’s just a beautiful orchestration and cacophony of sound.
There’s a moment where it says in the script “Hades is overcome with feeling.” That, for me, is the turning point of Hades remembering his past with Persephone. Listening to this song takes him back to his youth and he remembers the love that he had for her and he gets to see it through Orpheus and Eurydice. This tale, this love story between Orpheus and Eurydice is just a mirror image of what Hades and Persephone went through when they were young, which goes right along with the cyclical nature of it all, because it all happens again. If Greek Mythology had played out different, if Orpheus and Eurydice had lasted, they would have grown old, they would have inspired a new generation of young lovers to heal their tale.
The change in Hades, especially that climax at the end of “Epic III”, where that thing happens— he produces the flower— mirroring when Orpheus produces the flower for Eurydice in the beginning, which makes her fall in love with him at the top of the show— it’s just so beautiful. It brings a tear to the eye of everybody. It’s so unexpected and so deserving in that moment. It’s been building up to that moment the entire show and it’s so wonderful.
Max let me tell you, you’re an incredibly talented kid, but if this theatre thing ever doesn’t work out for you, you’ve got a career in writing. You’re incredibly articulate, and you have a beautiful way of taking the thoughts in your head, transforming them into words and making people want to listen to them. I know I wasn’t that articulate at your age.
Max: Let me go get my quill and ink!
Please do! And you’ve just reminded me of my own little Persephone-Hades moment. I had my own red flower, which I’d made by hot-gluing a red flower to a barrette clip, it was pinned in my hair. The gentleman I had taken with me, who was wearing the Hades blacks, and I was in Persephone green, I leaned over to him right at the end of Act I and very subtly clipped it to the pocket of his dress shirt. And we moved out into the lobby at intermission and someone stopped to compliment him on it, and the look on his face (he somehow had not realized I’d clipped it to him) was the look of surprise that the whole audience feels/has when Hades has that moment that you just described. It was a really beautiful moment.
Anyway, next question! What has being a part of CPM taught you about yourself?
Miranda: What CPM has taught me in my four years of being here, I have grown vocally, dance-wise, and acting-wise. I have been able to play so many different roles. I have been able to be a soprano to a tenor, which is amazing, getting to do so many different vocal parts, getting to do all of those harmonies and harmonize so many parts. With acting, I love that I’ve learned how to produce a show super fast. It’s been really great and it has helped me with the other productions I’ve been in. It helps me easily get into a show. It’s really great. With dancing, CPM has given me the chance to be a featured dancer, which I’ve never been before. I’ve grown so much, dancing-wise. I could never get that anywhere else. I have genuinely grown so much, and I really think CPM has prepared me for my future.
Allyson: I’ve basically grown up with CPM. I started when I was like seven. Obviously those theatre skills— dancing, singing, acting— I’ve developed those here. But also just other life skills, like social skills from a young age, being in that kind of community. And also discipline. Like Miranda said, we have to get ready for shows really quick. Especially when I was younger, in those smaller ensemble parts? You’re still needed. Every part is important and you learn that here. CPM has also taught me leadership skills. Because when you’re in the younger side of the cast, you look up to the older kids in the cast. Like Rachel Miller or my sister (Anderson Gray) and I would look up to them. Now it’s just crazy to think that I’m in that spot, that we’re in that spot and that people are looking up to us. It’s just a really cool and amazing program.
Kara: I think CPM has taught me to just love theatre. I didn’t know community theatre was a thing until I got into high school. I didn’t know. I thought your options were just like Broadway and high school theatre, that was all there was, that was all you got. My high school theatre is not the most professional theatre, I don’t want to bash them but they’re just not that great. So in coming to CPM, I learned how to be professional. My school is really lenient, they don’t really have the hard deadlines to learn your lines or your music. So their shows never turn out that good. Being able to be in a CPM show, which is so professional, learning how to work professionally with adults and with each other has taught me so much. I loved theatre but I never thought it was something that I would want to go into. CPM taught me that as I head off for college that I want to do theatre. I want to have a career in theatre.
My heart!! I’ve said to Ms. Diane (Artistic and Technical Director Diane M. Smith) more than once, because CPM is just about the right age as a program that had I known about it growing up, I would have been just like you, Kara. Because I didn’t think there was theatre outside of Broadway and the Morris Mechanic (later replaced by the Hippodrome) and what we had at school. So that’s a wonderful takeaway from this program for sure. Jayde?
Jayde: I go to Baltimore School for the Arts for vocal. One of the things that I get asked all the time about going there is “how do you do this school day until 4:00 o’clock, taking four music classes a day, leave, and then go do a three-hour rehearsal somewhere else?” And my answer would always be “because it doesn’t feel like I’m working. This is something that I love.” Being with CPM has really opened up my love for theatre. It has made me find a home place to go. There would be days where I was struggling with my mental health, and I would be so sad that I would stay home from school. But I would then leave and come here to CPM for rehearsal.
But that speaks volumes about what a wonderful program CPM is. That if you’re having a difficult day, whatever your reasoning, and you don’t want to be at school but you do want to be here because they’ve created a sense of safety, community, and acceptance? That’s extraordinary.
Jayde: CPM has been a really important place for me because through my time in high school, I lost my Dad. It’s really been a hard thing for me to just try and act like everything has been fine. I literally wrote my college essay— now it was a Cockpit Court Jesters show but I know a lot the same people also work with CPM— I wrote about how even though I was so sad about losing him, I would come to rehearsal and I would get to be a different person, and not Jayde and how important that was to me, that I could step into a character, be somebody else, and how happy that made me. It was Newsies Jr. And I remember I was really sad at one of the rehearsals because it was my first Father’s Day since he had passed away and I started crying and two of the cast members just hugged me and told me it was going to be okay and that just meant so much to me.
Jayde, thank you so much for sharing that experience, I am so sorry for your loss, but what a wonderful community both with Cockpit Court Jesters and CPM to have supporting you through that experience. That really lets everyone know that whatever they’re struggling with, be it loss or something else, that CPM and CCJ are safe, nurturing spaces where you can be and feel loved and connected as you go through those struggles. Thank you again for sharing with us. Max?
Max: CPM was obviously my first real production experience. I had done a drama club thing at my elementary school and I had done a summer camp. But other than that, I didn’t know anything about any of it and I was just there for fun. Before CPM I had no idea what I wanted to do. I liked computers, I thought I wanted to be a programmer. I hadn’t discovered passion yet. There was always something in me. My parents tell stories and I kind of remember these stories too, but they would tell these stories of a family gathering, we’d all be in the basement, I was like four— and I’d grab a guitar and just making noise with it, singing some song, talking loud. I always had that performing spirit and energy. I started playing piano before I got to CPM but being here really kind of opened my eyes to the community and the spirit of creating art as a whole. The sense of belonging that is fostered by that is so incredible.
Obviously there are a lot of theatre companies around doing “the same thing”— and for the record, I put that in air quotes with my fingers—
Oh we all saw the air quotes, Max, haha.
Max: Air quotes! But seriously, I’ve met my best friends here. I’ve met people that I will be friends with for my entire life. That is not only because we get to talk and spend time together because we’re at rehearsal but because of the feeling of CPM. Being in an environment like this, in a show at CPM, in a production company like this where everything is important— from set changes to dialogue— everything is just so cared about by everyone. And there is a focused-on importance of getting all of that down-pat to make a great show. That kind of environment really fosters a place where you can make real connections with people and that was a thing I didn’t really have before I got here. And I’m just so grateful for all that the playhouse has given me.
You guys are making me want to cry!! Now what’s the favorite show that you’ve done here at CPM but not Hadestown.
Max: Technically, it can’t be Hadestown, we haven’t done it yet.
Max has a point. So favorite show you’ve ever done at the playhouse but not Hadestown.
Miranda: This is a controversial answer but I loved being in Bye, Bye, Birdie.
As a fellow Birdie-gal— I played Helen in a production in— you know what, when isn’t important— but yes! Bye, Bye, Birdie for the win!
Miranda: Yes! I loved it so much! It was so much fun. It was such a completely different role than anything I’d ever done before. I played Rosie, she was such a belt-y role. It was such a fun role. I personally loved it to death and I would love to do that show again.
Allyson: My favorite show was Once On This Island. It was the last show I did at CPM with my sister. But also it was my first named role. I was Little Ti Moune. It was really fun and I think it’s a really beautiful story, it’s still one of my favorite musicals to this day.
Kara: I think my favorite show at CPM was Rent. I’ve done it twice, CPM was my second time doing it. It is the show that means the most to me, it’s probably going to be my Grad-cap. It’s the show that I could do a million times. And being in it a second time, the experience was so different from the first time I did it. The first time I did it, I was a lead, and the second time here at CPM I was ensemble. And honestly? The ensemble was better. Doing it here was better, being in the ensemble with these people? So much better. The production at my school? It was such a drama-filled year and overall experience and that is not the experience you should have when you’re doing Rent. No one in my high school production liked each other and that’s not how Rent should be. But the production here— everyone liked each other, we had such a bond. It was a great experience to have that small cast who really loved each other, and everyone was so close in that show.
Jayde: Probably Wizard of Oz. Not even for what the show was but just because the cast was so wonderful. Aside from Phoebe (playing the Scarecrow, Phoebe Bell), I was probably the oldest person in that cast. Not only did I play Aunt Em, but I felt like the mother to all the kids in the show. They would literally call me Mother Jayde and come up to me and hug me. We pretended that they were all ducklings and that I was their mother duckling, it was the most adorable thing to me! And I love kids. I’m majoring in elementary education. I’ve been a CPM councilor for three seasons. Watching these kids grow up from being little kids in the camp shows to joining the mainstage CPM shows is the most heartwarming thing to me. That show was really special to me. I loved all those kiddos with everything in my heart and that was really special for me.
Max: I think I could give a couple different answers. I could say Rent. I could say Descendants. Those were both fun times. But I think in my heart of hearts I have to say SpongeBob: The Musical.
NO!!! That’s the one I missed! I mean, I’ve missed more than one over the years, but I remember hearing about it, right after things started opening up on this side of the pandemic and I just couldn’t swing it!
Max: The pandemic began with a little known show called The Emperor’s New Clothes, right?
Um, I don’t think I saw that one either.
Max: Um basically no one did because we were closed two performances in. I played the Emperor with his so-called new clothes. That was my third show but that was supposed to be my big break— that nobody got to see. Covid happened and I was just going crazy. I had nothing to do. I remember I did a virtual Zoomsical— but it was not the same. I missed performing so much. Covid happened. Covid ended. And Cockpit Court Jesters was doing Moana, which I also did— and you also didn’t see, I don’t think.
I did not, regrettably.
Max: It’s fine— that was phasing back in from Covid. We all had to wear those face shields that fogged up and you couldn’t see. It was fine. That ends but it went right into SpongeBob. I felt that was my redemption arc.
Who were you in SpongeBob?
Max: I was SpongeBob!!! I felt like that was finally the chance to get back into the full swing of theatre. It was the first real, full CPM show back. It was an amazing time. SpongeBob is a part that I would love to do again.
I love that we all have different shows that stick with us for different reasons! Fun but difficult question that gets us back to Hadestown…if the chips were down, what would you do? Would you stay? Or would you go?
**NOTED FOR THE RECORD THAT THE AUDIO HAS ALL FIVE SENIORS COLLETIVELY GASP-GROANING AT THE DIFFICULTY/PROFUNDITY OF THIS QUESTION** (also this question contains spoilers.)
Miranda: I would stay.
Why?
Miranda: Oof. Um, I would stay because I don’t want to go to Hadestown and become someone that is no one. I want to stay in my life and continue living and growing and seeing where the rest of my life takes me.
Allyson: I think this is a hard question! I would like to say that I would stay. But I don’t know if I would have the strength to. Also, I don’t know if I have the greatest of understandings here but at least for Eurydice it sounds like she’s literally starving. She’s feeling death either way, so if she takes the ticket and goes then it’s over, she won’t feel the pain, she won’t be starving.
We’ve all had difficult decisions to make where we’ve come up against that wall of ‘which one’ even if its as simple as ‘that assignment is due in three hours but I haven’t started it yet’ and it’s almost always easier to think ‘but if I just don’t do it…’ so this makes it a phenomenally difficult question, for sure.
Kara: Same with Allyson, I would like to say that I would stay? But it’s really hard to tell when you’re not actively in that decision.
It is— also I just noticed your candy corn necklace and that makes me happy because I think I’m the only human who finds them tasty.
Kara: No I love them!
Miranda & Allyson: They’re good.
Excellent, CandyCornClub unite!
Max: That’ll be it for me! *he got up and started to faux-walk away*
Oh good grief. Where were we? Kara— sorry I derailed our train down to Hadestown with your wonderful necklace.
Kara: It’s cool. But like I said, it’s really hard to tell what you would do if you’re not facing that decision as it’s happening.
Jayde: Wait— are we talking chips or chips? Like the chips?
Oh my goodness. The coins. The decision to take the coin from Hermes—
Jayde: I should have looked that over before I came in today— wait— oh! You mean when Eurydice is making up her mind to get the ticket or the coins or whatever to take the train down to Hadestown?
Yes. Hermes presents her the choice— do you go with Hades and take the easy way out or do you stay and fight in a very hopeless situation?
Jayde: Got it. Which option is tough it out? Staying in the hopeless situation? I feel like I would stay. I’ve been through a lot of crazy rough things in my life, so if I can do all that, I can probably tough it out with whatever this new hard thing is.
Beautiful. Max, chips are down?
Max: Okay, but listen—
Whoa— controversial hot-take coming in here?
Max: Not really— we’d all like to say we’d stay. But here’s the thing. It’s kind of dumbed down for the musical, “you get the choice” air-quotes again, as I’m making this a running callback with the air quotes. But look if you read the original myth? She gets bitten by a snake and she dies. She doesn’t get the choice. There is no choice there. But in the world of Hadestown there is no way she can stay. One because the tale is being told over and over again and that’s how it’s written but two, there is nothing keeping her there. Other than Orpheus, who is not paying attention to her, so it’s almost like she doesn’t have him. Realistically? It’s portrayed in the musical that she ‘takes the train’ but honestly— she just dies. It’s not a choice, it’s the weather, the cold, the no-food. I think of it as less of a choice to make and more of a cross to bear. It’s a force-down into Hadestown and you have to bear it.
Now imagine for a moment— Max, this one won’t be too difficult for you— if you were Orpheus for a moment, do you think you could make it out without looking back? (**HEREIN LIES SPOILERS**)
Miranda: Oh. Hmm. I don’t know. I think I would just be like “okay, just go, just do it.” But I think I would get so self-conscious and I would start to wonder if they really were behind me. I honestly really don’t know.
That’s the human condition, right? We all have our demons and doubts.
Allyson: I feel like I wouldn’t. Because what are you really going to lose if you just keep going straight? You’re going to lose her either way. So you just keep going. Either she’s not behind you and you get out and you’ve lost her. Or you look back and she is behind you and you’ve lost her. So just go.
Kara: I have a couple different things here. In the myth, it is a very long time that he’s walking. It’s not just a couple songs. I feel like in a funny way, over such a long period of time, I’d just accidentally turn around not even thinking about it. I’d be like “oh, hey did you just see that?” and poof, I’ve accidently ruined it. And the other thing I think about a lot— and here’s hoping this isn’t a spoiler—
We’re so beyond that at this point and I’ve flagged in red which answers may contain spoilers so people can skip over reading them, but go ahead.
Kara: With myths there are multiple different versions as it gets passed down through time and it gets told differently. But my favorite version of their story is when Orpheus gets out, he’s so excited to see her, he turns around, but she hadn’t crossed the threshold yet, she was a few steps behind, she was still down there and that’s the version that always gets me. He was so excited that he made it and could finally look to her and see her but she hadn’t— I feel like that’s something I would do. “Oh hey—” and then… it’s just so sad!
Jayde: This question has got me a little confuzzled. Every time somebody reads one of my answers they’re just going to start laughing.
Jayde you are such a gem. You have this beautiful dichotomy of ‘I don’t really know’ but also ‘here’s this really deep thing’ and people are going to read this and love you for it.
Jayde: Thank you! That is the definition of Jayde. You’re welcome. But I think— I don’t know— Jayde’s world answer here says— maybe I’d look? I hope I wouldn’t look? Sure. I don’t know.
That might be my favorite answer— ‘yes’ to an either or question. Max?
Max: I think if it’s me? Easy. We’re out of there.
Okay, Max…
Max: Hush. We’ve made it. We’re in the clear— my brain— it doesn’t work like that. And like Allyson said, if you turn around she’s gone anyway. And if you don’t you don’t know that she’s not there or is there. It’s a lot easier for me to say that than for Orpheus to. He’s the one that took the journey, he traveled through the underworld, got by Cerberus, and everything that he encountered on that very tough journey. I guess for him, he turns around because he’s got the Fates in his ear and he’s so overcome with fright and doubt that Hades has tricked him. I’m trying to have a profound answer here but the words aren’t really coming here. Hold on. The only possible explanation that I could have for that is that he just misses her so much. Or he thinks she’s not there and he turns around to go back and get her but then when he turns around, obviously she’s there and it’s too late. These ideas have been planted in his mind by Hades and furthered by The Fates and he just can’t help himself. It’s a force that turns him.
It’s mind-body connection and that’s what gets him. He loves Eurydice so much, he couldn’t bear to not see her or be with her, so he had to— wait! Wait! Wait! Here it is: The profound— I found it! I got it, here we go. Orpheus would rather turn around and see her one last time, even meaning that she’s gone, than get there and she’s not there.
**COLLETIVE OOOOOH FROM ALL PARTIES SEATED AT THE TABLE**
That is such a soul-burn answer. Whoa. Okay, moving forward. What is the song in Hadestown – I won’t say favorite— but that you glom to or stick to the most, whether you sing in it or not?
Miranda: Originally, I didn’t really like the song— “Way Down Hadestown (Reprise)” I actually really hated it because it was so difficult. And I couldn’t get the harmonies. And it was “oh my gosh, I hate it, what is happening?” But then I got the harmonies. And now I love it. And it’s so fun, it’s really great to sing and it’s so good.
Allyson: I think I would say “Way Down Hadestown” the original, partially because that’s the one I get to really sing in, so I do really like that. But I also love the part where Persephone is dancing and Ace (Catherine Ace Angelos, playing Persephone) is so talented! They really just get into the music and they are so fluid with their body it is just amazing to watch. I think it’s just fun— there’s a whole conga line and it’s a party. Party train. It’s great. And I get to dance with the ensemble there too and I get to have a great time.
Kara: I think my favorite is probably “Road to Hell (Reprise)” because I love how empty it is in the beginning. And then you get to the end and we’re going to sing it again. Even though it was sad, we’re going to keep singing it. It’s such a beautiful way to end it. The song and the music in general is just so good.
Jayde: “Chant.” It’s just such a vibe. And I chill with it.
Max: This is my chance to finally talk about “If It’s True.” I think that “If It’s True” is the most beautiful song in this show. I think that it’s one of the deepest, best songs in the whole musical theatre canon. It says so much about the human spirit, about workers rights, pushing for what you believe in. It’s kind of the perfect culmination of everything that Orpheus believes in and his ideals. He’s using his voice to get these mindless workers to rise up and take a stand against their oppressors. It’s written so well. The harmonies are beautiful. It’s just so raw. It’s a joy to perform. It’s a tearjerker to watch. It’s my favorite song in the show.
I’m pretty sure I’m going to catch hell for this, but I’m a huge fan of “The Wall.”
Max: And I’m done! Again! *Max faux-leaves the interview. Again*
See? Hell. Thrown by Max. Who has left us now. Twice.
Max: Can we have a little counter for the number of times I’ve walked out?
So far it’s the number of times you’ve done Orpheus.
**COLLECTIVE LAUGHTER FROM ALL, INCLUDING MAX**
Believe me, everyone asks me what is wrong with me when I pick that song but whatever that’s my pick. Now, I know we’ve talked about this to a degree because it’s sort of snuck its way into some of your other answers here but why is theatre as a whole such an important part of your life?
Miranda: Oh gosh. I am never sitting next to you ever again, Ms. Mandy!!
Jayde: I picked the perfect seat— I need at least three people’s worth of time to come up with these answers!
You guys are something else!
Miranda: Okay. I— wait— ask the question again?
Why is theatre such an important part of your life?
Miranda: Theatre is such an important part of my life because it has showed me my true self and who I really am. I get to be myself around all these other people that also love being here and doing theatre. It’s such a different experience from everything— I’ve played sports in the past and it’s such a different experience from anything I’ve ever done. I grew such a strong connection to it so fast. It’s my favorite way to express my talents.
Allyson: I feel like what’s so hard about this question is that it seems like it would be an easy question because I just love theatre so much. But I don’t think I can pick a single, specific reason. I just grew up doing theatre. I think the reason I got into theatre was, obviously my sister was in it, but I’m just such an expressive person. So focusing all of my energy and effort into that and doing that through theatre has been amazing. I like being able to play these different characters and get a different understanding of the world. It forces me to see from different perspectives. It makes me more of an understanding person. Also I love singing and music. Being able to perform that, share that with an audience, and share a story with them is so rewarding.
Kara: Theatre is such an important part of my life because I love being able to tell stories to people. I love that this audience is coming in and that they want to see this story. And being able to show them what they want to see is so great. I love telling stories, I talk a lot—
Oh, sweetie, me too.
Kara: Haha! And theatre gives me a chance to talk more. I love challenging myself too. No matter how good I think I am, there’s always another part or role that’s going to challenge me and push me. I was just in Amadeus at my school and I was Mozart. It was the hardest thing I’ve ever done. I thought it was just going to be another role but it is the most challenging thing I’ve ever done. It was so hard. And I never liked plays— but it made me love plays. I was always into musicals because I’ve sang my whole life and I love to sing but that show made me discover this whole other part of theatre that I love doing. It makes me think about my acting more, it makes me dig deeper. And also I love doing tech theatre. I just did tech at Calvert Hall. I like being a part of all aspects of theatre; being a part of tech is so fun. I love that about theatre— I’m able to be in every single part of it.
Jayde: So I didn’t really “know-know” stuff about stage musicals and how that all existed until I was in late middle school. But up to that point, every day of my life was a performance. “Guys! You have to sit down and watch my new song or my skit” and my family would get so fed up! When I was like— eight? It was my eighth or ninth birthday— I got this karaoke machine and I was OBSESSED with it. And there are so many whack videos of me singing and performing. I always knew about theatre when I was little because my grandma is an art teacher at a middle and high school so she would help backstage with set design and stuff like that.
So I knew of it but had never done it. And then when I started going to the school that she worked at— when I hit middle school— I was supposed to be in Matilda but then Covid happened and it was “do I get to be a theatre kid or not?” I finally got to do my first musical— I was Louisa Von Trapp in The Sound of Music that was my first show. We were one of the first schools to come back after Covid because we were a private school and we did the show outside! We had this giant pop-up tent and it was just like “here we go, we’re doing it!” And from that theatre became my everything. All I wanted to do was perform. It became a home to me. I just got a full circle moment because my best friend, who is a grade below me, he was Kurt in Sound of Music, he ended up coming to BSA with me, and we got a song together for final performance and we did “No One Is Alone” from Into the Woods, I was Cinderella and he was Baker and it was the most full-circle theatre moment for me ever.
That is so beautiful. Max?
Max: I think that there is no truer collaborative medium than theatre. People of entirely different backgrounds, creeds, perspectives, and talents can come together and make something so whole. They come together as one. When I see a show, unless there’s a “big difference in quality” again, air quotes, number three I think—
Jayde: Can we add the ‘air-quotes’ tally to the ‘number of times Max left’ at the end too?
Absolutely! Max, go on…
Max: When I see a show, I’m not really thinking that the sound design was great, the set design was great, I’m absorbing the whole experience as a whole. The way it’s all wrapped up into one entity. You see the show and you think about the quality of the show as a whole. You think about the minds and the talents behind it, the musicians, the storytellers, the tech, the creatives, you think about how difficult it is to put all of us together into one cohesive picture, and the great thing about theatre is that is just happens. At times it feels difficult but it also feels natural and easy to just make something that should be so hard. Obviously there’s a lot of time, brain power, blood, sweat, and tears that goes into making those productions. But you can tell. You can tell when they care because you feel it.
Another reason that speaks to me specifically— I love music, I love acting, I love dancing. To be able to connect with an audience in a way that uses all of those facets, there is no better feeling to me than to just be there and feel the room. That’s where I feel the essence of being alive the most.
If you had to give a piece of advice to kids who were coming into the Children’s Playhouse of Maryland program for the first time, what would you say?
Miranda: At music rehearsals, make sure you bring your script, record your parts, and listen to the parts that Miss Charlotte (musical director Charlotte Evans) sends you because you need to lock in on your music and learn it fast!
Allyson: Adding onto Miranda— have a pencil! But also I would just say really focus on having fun. Just be open to anything. If Miss Liz (director Liz Boyer Hunnicutt) is like “we need someone to move this block stage left” just do it. Any small part of a musical, you’re always going to learn something from it and that could end up being your favorite set change that you ever do, so just do it all.
Kara: I would say don’t be scared. When I first came in, it was the smallest cast ever, Jesus Christ Superstar, we started two weeks late, it was a whole show. It was a weird show to have my first experience and I didn’t really know anyone. I might have known maybe a couple people and it was just such a scary experience for me not knowing anyone. But the second you’re there? You’re already making friends. Literally after having had one rehearsal I was already invited to a hangout. And I was meeting people who were in CPM shows just not Jesus Christ Superstar and all these other people that I would then go on to do shows with in the future. Don’t be scared!
Jayde: If you mess up? Just keep going. 90% of the time, you and the director are the only people who know you’ve messed up. The audience doesn’t realize that you’ve messed up until you make a face, freeze, or cry about it on stage.
Very, very true! Max?
Max: I’ll keep it short and sweet. Just listen. Nothing makes a process so easy as a group of people that just do as they are supposed to and listen.
Why do you want people to come out to Children’s Playhouse of Maryland and see this fantastic production of Hadestown?
Miranda: Why? Hmm.
This is supposed to be the easy question…
Miranda: Okay, okay! You should definitely come to see Hadestown because we are going to make it the best ever show ever. And you will have such a fun experience, you will have such a range of emotions seeing it, and you will have so much fun.
Allyson: I say that you should come see it because we have all worked so hard on this and also it’s just such a great show with so many talented people. Everyone was specifically cast because they knew that this combination of people was going to produce the best show so come see it.
Kara: I think you should come see it because I think this is a show that everyone should come see in their life. It’s just so good. And everyone is so talented it all just really comes together. And as much as I love Rent, I think this is going to be way better!
Oh my. Shots. Fired! Jayde?
Jayde: Kind of like Allyson said, on our first rehearsal, Charlotte said that every single one of us— there was not one singer that wasn’t a strong singer.
I heard there were something like 4,000 kids who turned up to audition.
Jayde: 67.
Way to strike down my hyperbole there, Jayde.
Max: That’s it! *Max faux-leaves the interview. Again.*
What is that? Three now? Good grief!
**COLLECTIVE LAUGHTER FROM ALL*
Where were we, Jayde?
Jayde: Okay, okay, according to Miss Liz there were 67, and our cast has 22— I did the math— that’s less people that Jesus Christ Superstar. That day, I looked around the room, at these people who I knew. I knew almost everybody from doing shows here and I thought “Yeah. These are the strongest, most talented people I have ever done shows with, this is going to be a really great cast.” So yeah, that’s why you should come see it.
Max: Regardless of the talent and care put into our production specifically, and we have a lot of both, to get to see Hadestown in any capacity is an opportunity that you should seize. It really is a show that is so raw, in any facet or capacity that you’re seeing it in, it’s going to be moving. I think that is just a truth about this show. Considering all the talent in our show it will be even better. Plus it’s all of our last ones.
**COLLETIVE SOB CRY FROM THE FIVE AT THE TABLE**
Beautiful. Final question, and this is the one that always breaks everyone’s brain—
Miranda: What? No. Not again! Our brains are already broken!
Yep. So I’m going to break them a little more and then send you all on your merry little way to Miss Liz for rehearsal.
Liz Boyer Hunnicutt: (from way, way across the room): Gee, thanks for that!
**COLLETIVE LAUGHTER FROM ALL**
Okay— final question— if you had to take your total experience of doing Hadestown (teen edition) here at Children’s Playhouse of Maryland and sum up that experience using just one word, which word would you use?
Miranda: Challenging.
Allyson: I’m trying to figure out the word. I have a concept but I need the word. Fun.
Kara: Meaningful.
Jayde: I’ve got it! Supercalifragilisticexpialidocious.
Max: I would leave again but I’m too tired to stand up and leave again.
We’ll make that three and a half. And Jayde, you should know, Colton Roberts who I believe is also in this production with you guys, just not a senior, has done a couple different community theatre interviews with me— I end every interview I do with this exact, show-specific question, and every single time that boy has said Supercalifragilisticexpialidocious. He really wants someone to do Mary Poppins.
Jayde: I just really wanted you to have type out that really long word.
Oh please! For the number of productions of Mary Poppins I’ve covered the last 15 years? It’s in a permanent paste-bin in Microsoft Word for me! Max?
Max: Hope.
So wonderful. Thank you all so very much. Details for getting your tickets to Hadestown can be found below!
Hadestown (teen edition) plays through May 17th 2026 with Children’s Playhouse of Maryland in the Lecture Hall of the Administration Building at the Community College of Baltimore County Essex Campus— 7201 Rossville Boulevard in Baltimore, MD. For tickets call the box office at (443) 840-2426 or purchase them online.
The count of “Air Quotes” was sadly just three.
And the count of Max faux-leaving the interview was three. And a half.
