Theater Review: Hadestown

The return of the new musical Hadestown to New York has been one of the most hotly anticipated theater events in quite some time, and it’s definitely a Broadway show that needs to be on everyone’s must-see list.

Written by singer-songwriter Anaïs Mitchell, Hadestown has had many iterations (with a variety of cast members) since its inception (that amount of development time makes certain themes and songs eerily resonant for today’s climate, like “Why We Build the Wall”. It seems change isn’t as frequent as we like to think.). Beginning as a song cycle and concept album, it received its stage debut at the New York Theater Workshop in 2016. Then it jumped to Canada; then London’s West End; and now Broadway, under the helm of the talented director (of one of our favorite Broadway productions, Natasha, Pierre, and the Great Comet of 1812) Rachel Chavkin. Naturally, along the way, a rabid fan base has been steadily growing.

Part of the appeal of Hadestown is the story based on Greek mythology and the other part is the cast and crew themselves. The story is inspired by two myths: Hades and Persephone and Orpheus and Eurydice. Here, we find Hermes (André De Shields). He will shepherd us through the production with the help of the Fates (Jewelle Blackman, Yvette Gonzalez-Nacer, Kay Trinidad) and a Greek-style chorus of Workers (Afra Hines, Timothy Hughes, John Krause, Kimberly Marable, Ahmad Simmons).

In a New Orleans-like dystopian world (seemingly influenced by the 1930s), the world is cold. It has been too long since Persephone (Amber Grey) has been allowed out of the underworld of Hades’ (Patrick Page, his low voice is deliciously on brand for this character), her husband, to the world above to bring spring and warmer weather. Hades is, of course, a very tyrannical figure with a growing, industrial complex to run.

Orpheus (Reeve Carney), a young man with his head in the clouds, is attempting to complete a song that will fix everything…although he pauses momentarily when he meets Eurydice (Eva Noblezada) and falls immediately in love. His momentary pause though is just that: a pause. In trying to finish his song, he forgets about practical things you need in cold weather: warmth and food. In looking for both, Eurydice agrees to travel to the Underworld. Orpheus travels down there in hopes of bringing her back to life. If you’re familiar with the Greek myths, you’ll know the outcome, but the story still surprises.

To immerse yourself into this world, the set is detailed and interesting. Scenic designer Rachel Hauck and lighting designer Bradley King do wonders. There’s a revolving stage; lights that hang from the ceiling (and at one point are incorporated so beautifully with the choreography from David Neumann during the song “Wait for Me”); and many moving parts. The orchestra sitting on stage also adds to the New Orleans “big band” type of feel.

The cast is the other piece that really makes Hadestown wonderful. It’s full of vivacious, talented performers—even if the book could have developed the characters of Orpheus and Eurydice more (they don’t have depth to them—which makes their love story not quite as intense as it could have been). Every single actor—from chorus member to lead—have strong, gorgeous voices that really bring all the music to life. Of particular note is Amber Grey as Persephone. She blows the roof off of the place during her performance of “Livin’ It Up On Top” and, really, every song she sings. Her Persephone is a complex and vulnerable woman.

Hadestown is a musically gorgeous (and gorgeous to look at) production full of talented performers that, I’m sure, will have a home on Broadway for many years to come.

 

Hadestown is playing at the Walter Kerr Theatre. For more information and to buy tickets for Hadestown, click here. 

 

Photo Credit: Matthew Murphy