Muscial Review: Hadestown

It is a shame that Hadestown is confined to the Walter Kerr Theater on Broadway. The show is a testament both to the power of musical theater as an art form that highlights common human experiences and the cast and crew’s ability to deliver a distinctly contemporary message. For that, I cannot help but especially applaud Anaïs Mitchell, the songsmith who brought this production to fruition.The show itself retells, in a Great Depression setting, the Greek myth of Orpheus (Reeve Carney) and Eurydice (Eva Noblezada). Mitchell intertwines their tale with that of Hades (Patrick Page) and Persephone (Amber Gray). Through each character’s trials, Mitchell preaches that we must always trust in love—for those whom we love will follow us. Her work centers around hope, the light that exists within us all. Yes, the plot and its themes may seem trite. In spite of this, Mitchell delivers everything with a degree of mastery and elegance that astounds even the most finicky audience members.Of course, a musical is incomplete without its soundtrack. In this regard, Hadestown similarly delivers through songs that explore a plethora of genres. The show pays homage to its theater roots with “Wait For Me,” the ballad requisite for every Broadway performance. Nevertheless, Hadestown shines when it veers into the unexpected. “Livin’ It Up on Top” and “Lady of the Underground” both veer into the territory of jazz, scintillating the audience as they move through complex rhythms and intervals. Meanwhile, the more reserved, tender pieces (namely “All I’ve Ever Known” and “We Raise Our Cups”) provide the suitable emotional weight to the show.By and large, the performances also get the job done with help from a few spectacular actors. Eva Noblezada, for example, a clear star on the stage. The clarity of her tone is remarkable, as is her versatility—her dulcet sound shifts from playful to somber as she moves through the show. Likewise, Amber Gray brings her signature timbre and rasp to the table, perfectly complementing her the high-spirited Persephone. The Fates and Hermes (Andre De Shields) are also vocally strong. However, I did have some trouble connecting with Patrick Page’s Hades. Page’s songs often stay within the confines of a few notes, many of which are at the bottom of his range. Thus, his performances come across as minutes-long growling sessions instead of melodic, musical moments. While his acting provides the necessary gravitas to the character, I struggle to accept this casting choice from a musical perspective.All this comes without mention of the show’s breathtaking set. The way in which ostensibly rigid structures move and shift inspires awe. Lamps lower from above the stage, lights reveal themselves in ordered rows, a portion of the stage sinks, forming a hole in the ground—all these elements contribute creativity to the show at just the right time. The end result is a sublime adventure for the audience.Overall, the show is remarkable. However, this is not only due to the excellent craftsmanship of the stage and script. Yes, the songs are lovely. Yes, the set is superb. What really matters, though, is how timely it is, despite being a retelling of an ancient tale. The characters are old, but they are adapted for a modern audience. Mitchell shows us the fallacy of building walls for the sake of preservation and the folly of keeping our loved ones trapped. She teaches us that, no matter where we are, we may find hope in love, and that is all that matters.