On Wednesday, thousands of audience members filed into the Boch Center in Boston to see the touring production of “Hadestown.” While some were longtime fans of the show and others were seeing it for the first time, everyone shared the powerful experience of seeing Anaïs Mitchell’s breathtaking musical come to life onstage.
The brainchild of folk singer-songwriter and playwright Anaïs Mitchell, “Hadestown” was first performed nearly 20 years ago as a workshop production in Vermont in 2006. Following years of rewrites, a 2010 concept album and a 2016 off-Broadway production, the musical premiered on Broadway in 2019. The show was a hit, winning eight Tony Awards, and will soon celebrate its 1,500th performance on Broadway. A modern version of the classic tale of Orpheus and Eurydice, “Hadestown” reimagines the Greek myth as a folk opera.Its powerful story, which deeply explores political themes of greed, climate change and poverty, speaks to audiences of all ages and backgrounds.
Orpheus and Eurydice, the young lovers at the heart of the show, are played by rising stars J. Antonio Rodriguez and Amaya Braganza, who succeed not by emulating their predecessors on Broadway, but by making the roles truly their own. Rodriguez, especially, imbues Orpheus with kind-hearted innocence, and his earnest hope for a better world in the face of despair is a joy to watch. His impressive vocal range, coupled with his folksy twang, accompanies Orpheus’ incredible emotional journey as he journeys to the underworld to reunite with Eurydice. While Braganza struggled with some of the more vocally demanding moments, she embodies Eurydice perfectly and her chemistry with Rodriguez is undeniable.
Messenger god Hermes (Will Mann) serves as the show’s master of ceremonies, kicking off the show by inviting the audience to participate, calling out “aight!” as the entire cast enters the stage. Mann’s warm, confident energy is inviting and his silky, mellifluous voice guides the actors through the twists and turns of the story. In the show’s opening number, “Road to Hell,” Hermes introduces each of the characters. First up are the Fates: “three old women all dressed the same,” known in Greek mythology as the personifications of destiny. With impressive choreography and tight harmonies, the Fates are a force to be reckoned with onstage, especially the Fate played by Lizzie Markson, whose menacing nature and captivating vocals are hard to ignore.
Persephone, played by returning Broadway cast member Lana Gordon, is playful yet clearly empathetic throughout the show. Her bluesy, soulful voice is full of emotion, and her love of summertime and the world above is reflected in her animated performance (although some of her words get lost in her wine-drunk delivery). Act II begins with her solo, “Our Lady of the Underground,” where she dances around the stage, showing off the talents of the pit and her own incredible vocals. As her tyrannical husband Hades, Matthew Patrick Quinn powerfully personifies the god’s anger and greed, his imposing presence leaving a mark on audiences as his chilling operatic bass voice fills the theater.
In “Hadestown,” Hades and Persephone represent another version of Orpheus and Eurydice, a love that is also fated to repeat over and over. However, the former’s well-worn relationship is dull in comparison to the latter’s young, blossoming romance. But “Hadestown” is much more than a love story — set in a post-apocalyptic wasteland, Mitchell’s story explores how Hades and Persephone’s turbulent relationship has affected the climate, and grapples with themes of economic inequality and capitalism as Orpheus and Eurydice encourage the workers of the underworld to fight back against their demagogic leader. Some of the political references feel eerily timely, although you might be surprised to learn that Hades’ “Why We Build the Wall” was written nearly two decades ago. Mitchell’s unique folk and jazz-inspired score is unforgettable, with toe-tapping numbers like “Livin’ it Up on Top” and emotional ballads like “Flowers” and “Wait for Me” that will stay in your head for weeks.
Rachel Hauck’s complex set mirrors the original Broadway production with a revolving turntable in the floor and an elevator straight to hell. The cast moves comfortably on the stage, from Hades’ sassy strut to Orpheus’ impressive backwards leap during a fight sequence. Bradley King’s versatile lighting design stands out too, with blinding flashes of light, swinging lanterns and headlamps that mimic the disorienting environment of the underworld.
The eight-person pit orchestra, who surround the performers onstage, are fully integrated into the production. In a departure from the Broadway version, the pit acts as Persphone’s background singers during “Our Lady of the Underground,” feeding off of Gordon’s playful and sneaky energy. The musicians also participate in the action of the show, drinking alongside the cast whenever a character makes a toast. However, one member of the pit stands out above anyone else: trombonist Emily Fredrickson, who plays what one critic called “the greatest trombone part in Broadway history” with incredible dexterity and enthusiasm.
The ending of “Hadestown” will leave not a dry eye in the theater, but you’ll leave the show yearning to come back. Even if you know how the story ends, this production makes you feel a glimmer of hope that maybe, just maybe, things will end differently this time. Nothing changes in the end, of course, but you’ll still be left with the desire to relive it again and again.
“Hadestown” wrapped up its run in Boston last night. Tickets to additional stops on the show’s North American tour can be found here.
