Theater Review: Hadestown

Hadestown

Music, Lyrics & Book: Anaïs Mitchell

Performance at Boch Center – Wang Theatre, Boston, MA – April 28, 2024, 6:30 PM

Music Supervisor & Vocal Arrangements: Liam Robinson
Choreographer: David Neumann
Developed with & Directed by: Rachel Chavkin

Cast

• Euridyce – Amaya Braganza
• Persephone – Lana Gordon
• Hermes – Will Man
• Hades – Matthew Patrick Quinn
• Orpheus – J. Antonio Rodriguez
• Fates – Marla Louissaint, Lizzie Markson, Hannah Shreer
• Workers Chorus – Sevon Askew, Jamal Lee Harris, Cate Hayman, Quiana Onrae’l Holmes, Daniel Tracht

Summary/Review:

Last week, the touring production of Anaïs Mitchell‘s “folk opera” Hadestown, a Tony-award winning adaptation of the myth of Orpheus and Euridyce, played at Boston’s historic Wang Theatre. Mitchell ties in various styles of American “roots” music – including Dixieland jazz, gospel, and blues – in a musical theater style. The deceptively simple set also reflects New Orleans-style architecture and a Depression-era vernacular. The band performs on stage on risers arranged in a semicircle around the proscenium. I’m particularly impressed by the light design that helps transform the set from a cafe to an underground mine, and particularly the effect of swinging lamps in the showstopping number “Wait For Me.”

The god Hermes acts as narrator and master of ceremonies as well as a character in the story he describes as a “sad song,” but “we’re gonna sing it anyway.”  The relationship of the gods Hades and Persephone is falling apart leading to the world suffering long winters and failing crops. Euridyce is jaded by the trauma of poverty but nevertheless falls in love with the optimistic and naive musician Orpheus.  He is writing a song to set the world aright but he takes too long too finish, and in desperation Euridyce agrees to work in Hadestown.  Orpheus journeys to Hadestown to retrieve her and if you’re at all familiar with mythology, you know what happens next.

The story works on several levels, bringing a new perspective on an old story and celebrating the power of art, music, and storytelling. Orpheus represents those among us who can see a better world, inspiring the denizens of Hadestown and even Euridyce, although sadly he’s broken by the experience leading to “the turn.”  Politically, Hadestown is portrayed as an industrial hellscape and Hades as a cruel, corporate leader exploiting his workers.  The imbalance of the seasons is clearly a reflection on climate change causing poverty and refugees. And when you hear Hades singing about building a wall, it might surprise you that Mitchell wrote this song 20 years ago (and perhaps a good example that Donald Trump is not a very original tyrant).

Early in her career, Anaïs Mitchell busked on the platforms of the MBTA in Boston (was that the inspiration for the train to hell?), and I’m fairly certain I saw her perform at Club Passim back in the days when I hung out in folk clubs.  In this interview from Boston.com, Mitchell reflects on the Boston origins of her musical. There’s also a review of the Boston production in the Harvard Crimson.

Hadestown is a beautiful show with songs that I’m still humming along with and great performances by the cast.  Should you get the chance, go see Hadestown whether it be the touring production or on Broadway.