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Grammy-winning singer-songwriter Ani DiFranco, 53, has always used her music to express strong opinions on race relations, politics and women’s rights. She’s currently using that strong voice to portray Persephone in the Tony-winning folk- and jazz-infused musical Hadestown. The play, staged at New York’s Walter Kerr Theatre, intertwines the mythological story of Orpheus and Eurydice with that of King Hades and his wife, Persephone. Here, DiFranco shares the physical challenges of a Broadway show, her newfound appreciation of silence and her favorite ways to relax at home in New Orleans.
This interview has been edited for length and clarity.
What’s the most challenging aspect of being a Broadway performer?
Oh boy, it’s a long list. Different things move to the top in different moments. I’ve had a lot of physical challenges. I’ve lost 14 pounds — and I’m tiny — in the last three weeks. And it’s not just sore muscles. It’s hip sockets, it’s foot arches, it’s spasming in my haunches. … I take a lot of Epsom salt baths. I’m buying stock in Epsom salt. More than that, even, is that I didn’t expect the level of exactitude that the leaders of the show [demand]. … The rehearsal schedule has been pretty intense. It’s until 10 o’clock at night sometimes. It’s afternoons, it’s evenings, it’s different every day. … There are 10 billion instructions per song, per moment, per beat. … I’m trying to exit the phase of just being panicked [about] remembering every instruction in every moment and getting back into my body, and back into a sense of myself and a sense of singing and dancing and being free.
Do you remember the first Broadway show you saw? And do you have a favorite?
I think the first Broadway show I ever saw was A Chorus Line. I hadn’t really seen many Broadway shows until recently because my daughter [Petah, 17] is a fan. And so I’ve seen more shows in the last five years than ever. Hamilton — it’s just unparalleled. Hadestown as well. Hamilton and Hadestown both have brought some much needed energy from the streets … the way music works and feels and lives outside of the theater district. Hamilton may be more in the hip-hop sense, and Hadestown more in the folk Americana sense of bringing these new flavors onto the scene. There’s a breath of life that comes through shows like Hadestown and Hamilton.
Have you developed any pre-show rituals over the years?
In my previous 30 years of performing [musically] as me, I do tend to keep to myself a little bit. It’s not a set ritual, but it’s a vibe thing — kind of all day. My touring companions … they get together with friends for lunch and they go to a museum and they might go on a hike. Me, I’m just in my dressing room, thinking about the set list, honing in. From the time I have my cup of tea in the morning until sound check, I’m thinking about what songs I’m going to play, what things I want to talk about, or maybe what’s on my mind. And then when it comes to the hour before the show, I tend to just stay in that space in my dressing room alone, clearing my mind.
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