| Hadestown | |
| Music: | Anaïs Mitchell |
| Lyrics: | Anaïs Mitchell |
| Basis: | Orpheus and Eurydice |
| Productions: | 2016 Off-Broadway 2017 Edmonton 2018 London 2019 Broadway 2021 North American Tour 2024 West End |
| Awards: | Tony Award for Best Musical Tony Award for Best Original Score Grammy Award for Best Musical Theater Album |
Hadestown is a musical with music, lyrics, and book by Anaïs Mitchell. It tells a version of the ancient Greek myth of Orpheus and Eurydice. Eurydice, a young girl looking for something to eat, goes to work in a hellish industrial version of the Greek underworld to escape poverty and the cold, and her poor singer-songwriter lover Orpheus comes to rescue her.
The original sung-through version of the musical was performed in the town of Barre, Vermont, in 2006, followed by Vergennes, Vermont the same year and a tour in Vermont and Massachusetts in 2007. Mitchell, unsure about the future of the musical, turned it into a concept album, released in 2010.[1]
In 2012, Mitchell met director Rachel Chavkin, and the two reworked the stage version, with additional songs and dialogue. The new version of the musical, directed by Chavkin, premiered off-Broadway at New York Theatre Workshop on May 6, 2016, and ran through July 31. Following productions in Edmonton, Alberta, Canada, and London, England, the show premiered on Broadway in 2019. The Broadway production received critical acclaim. At the 73rd Tony Awards, Hadestown received 14 nominations (the most that year) and won eight, including Best Musical and Best Original Score.
The Greek god Hermes welcomes the audience to the show, introducing the story, characters, ensemble, and band ("Road to Hell"). This is followed by Eurydice and the Fates describing the harsh weather and famine of the setting ("Any Way the Wind Blows"). Orpheus, Hermes' ward, introduces himself to Eurydice and asks her to marry him ("Come Home With Me"). Eurydice is doubtful as they both live in poverty. Orpheus tells her that he is writing a song to make spring come again, and they will no longer have to struggle ("Wedding Song").
Orpheus sings the story of Hades and Persephone ("Epic I"). Persephone arrives in the world above and celebrates summertime ("Livin' it Up on Top"), while Eurydice begins to truly fall in love with Orpheus ("All I've Ever Known"). Hades comes early to collect Persephone, and she voices her misery of having to return to Hadestown, Hades' underground factory. Despite hearing about the never-ending labor endured by the factory workers, Eurydice is intrigued by the rich praises sung by the Fates as well as the promise of protection that Hadestown offers ("Way Down Hadestown"). The cold weather returns and Eurydice searches for food and firewood, urging Orpheus to finish his song ("A Gathering Storm"). Orpheus continues working on his song ("Epic II"), while Persephone and Hades argue ("Chant").
Hades leaves Hadestown to find someone who will appreciate its safety and security. He comes across a desperate Eurydice and invites her to come to Hadestown ("Hey, Little Songbird") and the Fates urge Eurydice to join him ("When the Chips Are Down"). With the cold surging and an empty stomach, Eurydice sees no other choice except following Hades. She sings her goodbyes to Orpheus before heading to Hadestown as the Fates chastise the audience for judging her for choosing self-interest over love ("Gone, I'm Gone"). Orpheus discovers Eurydice's disappearance, and decides to rescue her from Hadestown. He sets off on his journey using Hermes' instructions on how to get to Hadestown without the use of the train ("Wait for Me"). Eurydice arrives in Hadestown and signs the contract, officially becoming a worker ("Why We Build the Wall").
In an entr'acte, Persephone sings to the patrons of a speakeasy that she runs behind Hades's back ("Our Lady of the Underground"). Eurydice begins to realize the consequences of her choice to go to Hadestown: she will soon become a forgotten laborer and can never leave unless Hades consents to let her go ("Way Down Hadestown (Reprise)"). She sings of her regrets as her memories of the world above slowly begin to fade ("Flowers").
Orpheus arrives in Hadestown and promises Eurydice that he will take her home with him ("Come Home with Me (Reprise)"). Hades appears and reveals to him that Eurydice willingly signed the contract, which Eurydice regretfully confirms ("Papers"). Hades orders the workers to attack Orpheus and the Fates tell him to give up hope ("Nothing Changes"). Orpheus vows to find a way to free Eurydice, rallying the workers and catching Persephone's attention in the process ("If It's True").
Persephone is inspired by Orpheus's determination and pleads with Hades to let Eurydice go ("How Long?"). While the workers begin to truly question the freedom they were promised, Hades bitterly offers Orpheus a chance to sing his completed song, threatening to kill him afterwards ("Chant (Reprise)"). Orpheus sings his song, reminding Hades of his love for Persephone ("Epic III"). Hades and Persephone reconcile with a dance, after which Orpheus and Eurydice promise to stay together no matter how hard ("Promises"). Orpheus asks Hades if they may leave, and Hades tells him that he has not reached a decision. The Fates taunt Hades for his dilemma: If he kills Orpheus and keeps Eurydice captive, they become martyrs, but if he lets them go, he loses control over his workers as they have begun to agitate for their freedom ("Word to the Wise"). Hades decides to let Orpheus and Eurydice go on one condition: Orpheus must lead them out. If he turns around to confirm that Eurydice is following him, she will return to Hadestown and remain there forever ("His Kiss, the Riot").
Hermes explains the condition to Orpheus and Eurydice, and they begin heading out with the workers looking to them for hope. Persephone and Hades decide to give their relationship another chance ("Wait for Me (Reprise)"). Just as Orpheus makes it up to the end, he is overcome by doubt and turns around, condemning Eurydice to return to Hadestown ("Doubt Comes In"). Hermes reflects on the somber tale and why it must be told, as the story resets to the beginning and the company begins to tell it again. ("Road to Hell (Reprise)"). After the bows at curtain call, the cast honors Orpheus for his optimism and bravery ("We Raise Our Cups").
Source:[2]
An early version of Hadestown was performed in the cities of Barre and Vergennes, Vermont in 2006, before going into a seven-day, ten-city tour in Mitchell's home state of Vermont and Massachusetts in 2007.[3] Mitchell described the first incarnation of the show as "a D.I.Y. theatre project". The creative team included director/designer Ben T. Matchstick and orchestrator/arranger Michael Chorney, with a cast drawn from artists in Vermont, including Mitchell as Eurydice and Matchstick as Hermes.[4] Unsure of the future of the stage version, Mitchell released a concept album in 2010.[5] [6]
After watching a production of Natasha, Pierre & the Great Comet of 1812 directed by Rachel Chavkin in 2012, Mitchell and Chavkin discussed gaps in the concept album's storyline and began to expand the stage version of the musical. Mitchell wrote an additional 15 songs and added dialogue to clarify the plot and deepen characterization. Todd Sickafoose contributed additional/co-arrangements and orchestrations to Chorney's. Hadestown premiered at New York Theatre Workshop (NYTW), running from May 3, 2016, through July 31. The production starred Damon Daunno as Orpheus, Nabiyah Be as Eurydice, Amber Gray as Persephone, Patrick Page as Hades, Chris Sullivan as Hermes, and Lulu Fall, Jessie Shelton, and Shaina Taub as the Fates.[7] On October 14, 2016, an EP was released featuring four songs from the musical, recorded live on June 28 and 29, 2016.[8] A full live album was released on October 6, 2017.[9]
The production was featured in the documentary series Working in the Theatre produced by the American Theatre Wing.[10]
Hadestown was presented as a pre-Broadway tryout as part of the 2017/2018 season at Citadel Theatre in Edmonton, Alberta, Canada. Chavkin again directed, with performances from November 11 to December 3, 2017, with Amber Gray and Patrick Page reprising their roles from NYTW. The production was presented in collaboration with Mara Isaacs and Dale Franzen, who produced the off-Broadway run.[11] The production also started Reeve Carney as Orpheus, T.V. Carpio as Eurydice, and Kingsley Leggs as Hermes.
Hadestown was next performed in the Olivier Theatre of the National Theatre in London, running from November 2018 to January 2019.[12] Designers included Rachel Hauck (sets), Michael Krass (costumes), Bradley King (lighting), and Nevin Steinberg and Jessica Paz (sound). David Neumann choreographed.[13] Page, Gray, and Carney reprised their previous roles, joined by Eva Noblezada, André De Shields,[14] Carly Mercedes Dyer, Rosie Fletcher, and Gloria Onitiri.[15]
Hadestown opened on Broadway at the Walter Kerr Theatre, with previews beginning on March 22, 2019, and an official opening on April 17, 2019.[16] Page, Gray, De Shields, Carney, and Noblezada reprised their roles, joined by Jewelle Blackman, Yvette Gonzales-Nacer, and Kay Trinidad.[17] The Broadway production was produced by Mara Isaacs, Dale Franzen, Hunter Arnold and Tom Kirdahy.[16] Designs were again by Hauck (sets), Krass (costumes), King (lighting), Steinberg and Paz (sound), and Neumann again choreographed. On March 12, 2020, performances were suspended due to the COVID-19 pandemic.[18] The musical resumed performances on September 2, 2021.[19] On January 4, 2023, Hadestown became the longest-running show at the Walter Kerr Theatre with 918 performances.[20]
A national tour was planned for 2020.[21] Due to the COVID-19 pandemic, the tour was postponed to 2021. It launched at the John F. Kennedy Center for the Performing Arts in Washington, D.C., where it ran for three weeks starting October 15, 2021. Prior to the launch, the production had a tryout at the Peace Center in Greenville, South Carolina, from October 5 to 10, 2021. The tour starred Nicholas Barasch as Orpheus, Morgan Siobhan Green as Eurydice, Kevyn Morrow as Hades, Kimberly Marable as Persephone, Levi Kreis as Hermes, and Belén Moyano, Bex Odorisio, and Shea Renne as the Fates.[22] [23] The tour played its final performance on May 26, 2024 in Toronto, Ontario, Canada.[24]
A non-Equity national tour began in North Carolina in November 2024 and is scheduled to continue until at least May 2025. It is directed by Keenan Tyler Oliphant and choreographed by T. Oliver Reid.[25] [26]
A South Korean production of Hadestown ran from August 2021 to February 2022, at the LG Arts Center in Seoul. This Korean-language production starred Zo Hyung-gyun, Kang-hyun Park, and Xiumin rotating as Orpheus, and Kim Hwan-hee and Kim Soo-ha rotating as Eurydice.[27] The production won Best Musical at the Korea Musical Awards.[28]
The musical returned to South Korea from July 12, 2024 and is expected to play until October 6 at the Charlotte Theater in Seoul.[29] Hyung-gyun and Park reprised the role of Orpheus, with Kim Min-seok.[30] Hwan-hee and Soo-ha reprised their roles as Eurydice.
Hadestown returned to London, opening in the West End in February 2024 at the Lyric Theatre, London. The cast included Dónal Finn as Orpheus, Grace Hodgett Young as Eurydice, Zachary James as Hades, Melanie La Barrie as Hermes, and Gloria Onitiri as Persephone.[31] It is scheduled to run through September 28, 2025.[32] A live cast recording is set to be released on December 6, 2024.[33]
A production is planned to play in Sydney, Australia, at the Theatre Royal, in February 2025.[34] It is expected to then play at the Her Majesty's Theatre, Melbourne, in May 2025.[35] Another staging is set to open in Amsterdam, Netherlands, at the Royal Theater Carré in June 2025.[36]
The original casts of the English-speaking productions of Hadestown
| Character | Concept Album | Off-Broadway | Broadway | North American National Tour | West End[37] | |
|---|---|---|---|---|---|---|
| 2010 | 2016 | 2019 | 2021 | 2024 | ||
| Orpheus | Justin Vernon | Damon Daunno | Reeve Carney | Nicholas Barasch | Dónal Finn | |
| Eurydice | Anaïs Mitchell | Nabiyah Be | Eva Noblezada | Morgan Siobhan Green | Grace Hodgett Young | |
| Hades | Greg Brown | Patrick Page | Kevyn Morrow | Zachary James | ||
| Persephone | Ani DiFranco | Amber Gray | Kimberly Marable | Gloria Onitiri | ||
| Hermes | Ben Knox Miller | Chris Sullivan | André De Shields | Levi Kreis | Melanie La Barrie | |
| The Fates | The Haden Triplets | Lulu Fall Jessie Shelton Shaina Taub | Jewelle Blackman Kay Trinidad Yvette Gonzalez-Nacer | Belén Moyano Bex Odorisio Shea Renne | Bella Brown Madeline Charlemagne Allie Daniel | |
West End (2024–)
See main article: Hadestown (album) and Hadestown cast recordings. Mitchell's 2007 album The Brightness contains the song "Hades & Persephone", an early version of "How Long?" Mitchell released a concept album, based on the musical, on March 9, 2010, through Righteous Babe Records. A live cast recording of the off-Broadway production was released on October 6, 2017, through Parlophone Records. A four-track EP entitled Why We Build the Wall (Selections from Hadestown. The Myth. The Musical. Live Original Cast Recording) was released for digital retailers on October 13, 2016, to promotion the album.
A Broadway cast recording was released digitally on July 26, 2019, through Sing It Again Records.[51] The two-CD recording was available at a later date.[52] A holiday album recorded by Blackman, Gonzalez-Nacer and Trinidad titled If the Fates Allow, was released on November 20, 2020, and features guest contributions from the other original cast members.[53]
A West End cast recording was made, but no release date has been scheduled.[54]
Writer Anaïs Mitchell said she was inspired by Les Misérables to write a musical that was about the power of both romance and politics: "It's a love story, but politics really is romantic."[55]
Director Rachel Chavkin said addressing climate change had always been central to the show: "As we thought more and more about shaping the world that Eurydice and Orpheus are living in — a world caused, in Greek mythological terms, by the decay of the ancient marriage between Hades and Persephone, a world that is out of balance, where it is either freezing or blazing hot, where food becomes scarcer and the idea of stability becomes harder to imagine, and a character, Eurydice, who has spent her life running – all of those things kind of crystallized while we were making the show."[56] The show did a joint promotion with Natural Resources Defense Council to raise awareness and bring a greater sense of urgency to the push for action on the issue of climate change.[57]
US cultural commentator Bridget Read highlights the economic themes: "Orpheus and Eurydice's tragedy becomes, in the hands of Mitchell, an argument for collective bargaining...I don't think its untoward of me to hear the class politics in a musical in which the characters sing the word poverty more times than I've ever heard it before in the vicinity of Times Square."[58] In China, The Paper has published a review of Hadestown, "The Realm Underneath: Hadestown and Utopia" (冥界: 地狱镇与乌托邦) by historian Hansong Li (李汉松), who frames the musical as a work of not only musical ingenuity but also social critique.[59]
Todd Osborne comments on the self-conscious significance of the medium of song within the work: "It is a musical both about how art can save us and how, especially in an apocalyptic world, hope might be the only thing we have left."[60]
The New York Times described the Off-Broadway production as "inventive" and "gorgeously sung", praising its simplicity and intimacy.[61] The Hollywood Reporter described the added dialogue as "wince-inducing" but favored its high energy and immersive staging.[62] Several reviews drew parallels between the song "Why We Build the Wall" and Donald Trump's 2016 presidential campaign, though the song predates the campaign by about a decade.
The production opened on Broadway on April 17, 2019, to critical acclaim, with praise for its direction and the performance of André De Shields.[63] The New York Times called it "gorgeous" and "hypnotic", especially noting its improvement from the New York Theatre Workshop version.[64] David Rooney of The Hollywood Reporter calls it "utterly fabulous", in particular praising the performances of Gray and Page.[65]
Japanese producer Imura Madoka (井村まどか) and theatre journalist Yusei Kageyama (影山雄成) praised the musical for its novelty and creativity, in contrast to a recent trend in Broadway to "avoid risks" by adapting films and recasting classics.[66]
| Year | Award | Category | Nominee | Result |
|---|---|---|---|---|
| 2016 | American Academy of Arts and Letters | Richard Rodgers Award for Musical Theater[67] | ||
| 2017 | Drama Desk Awards | Outstanding Musical | ||
| Outstanding Lighting Design for a Musical | Bradley King | |||
| Drama League Awards | Outstanding Production of a Broadway or Off-Broadway Musical | |||
| Lucille Lortel Awards | Outstanding Musical | |||
| Outstanding Choreographer | David Neumann | |||
| Outstanding Lead Actor in a Musical | Patrick Page | |||
| Outstanding Lead Actress in a Musical | Amber Gray | |||
| Outstanding Featured Actor in a Musical | Chris Sullivan | |||
| Outstanding Scenic Design | Rachel Hauck | |||
| Outstanding Sound Design | Robert Kaplowitz | |||
| Outer Critics Circle Awards | Outstanding New Off-Broadway Musical | |||
| Off-Broadway Alliance Awards | Best New Musical | |||
| Year | Award | Category | Nominee | Result |
|---|---|---|---|---|
| 2018 | Elizabeth Sterling Haynes Award[68] | Timothy Ryan Award for Outstanding Production of a Musical | ||
| Outstanding Director | Rachel Chavkin | |||
| Outstanding Performance by an Actress in a Supporting Role | Amber Gray | |||
| Outstanding Set Design | Rachel Hauck | |||
| Outstanding Costume Design | Michael Krass | |||
| Outstanding Lighting Design | Bradley King | |||
| Outstanding Musical Director | Liam Robinson | |||
| Outstanding Choreography or Fight Direction | David Neumann | |||
| Year | Award | Category | Nominee | Result | |
|---|---|---|---|---|---|
| 2019 | Tony Awards[69] [70] | Best Musical | |||
| Best Book of a Musical | Anaïs Mitchell | ||||
| Best Original Score | |||||
| Best Performance by an Actress in a Leading Role in a Musical | Eva Noblezada | ||||
| Best Performance by an Actor in a Featured Role in a Musical | André De Shields | ||||
| Patrick Page | |||||
| Best Performance by an Actress in a Featured Role in a Musical | Amber Gray | ||||
| Best Scenic Design in a Musical | Rachel Hauck | ||||
| Best Costume Design in a Musical | Michael Krass | ||||
| Best Lighting Design in a Musical | Bradley King | ||||
| Best Sound Design of a Musical | Nevin Steinberg and Jessica Paz | ||||
| Best Direction of a Musical | Rachel Chavkin | ||||
| Best Choreography | David Neumann | ||||
| Best Orchestrations | Michael Chorney and Todd Sickafoose | ||||
| Drama Desk Awards[71] | Outstanding Featured Actor in a Musical | André De Shields | |||
| Outstanding Director of a Musical | Rachel Chavkin | ||||
| Outstanding Choreography | David Neumann | ||||
| Outstanding Scenic Design for a Musical | Rachel Hauck | ||||
| Outstanding Costume Design for a Musical | Michael Krass | ||||
| Outstanding Lighting Design for a Musical | Bradley King | ||||
| Outstanding Sound Design in a Musical | Nevin Steinberg and Jessica Paz | ||||
| Drama League Awards[72] | Outstanding Production of a Broadway or Off-Broadway Musical | ||||
| Distinguished Performance Award | Amber Gray | ||||
| André De Shields | |||||
| Outer Critics Circle Awards[73] | Outstanding New Broadway Musical | ||||
| Outstanding Book of a Musical (Broadway or Off-Broadway) | Anaïs Mitchell | ||||
| Outstanding New Score (Broadway or Off-Broadway) | |||||
| Outstanding Actor in a Musical | Reeve Carney | ||||
| Outstanding Featured Actor in a Musical | André De Shields | ||||
| Outstanding Featured Actress in a Musical | Amber Gray | ||||
| Outstanding Director of a Musical | Rachel Chavkin | ||||
| Outstanding Choreographer | David Neumann | ||||
| Outstanding Scenic Design (Play or Musical) | Rachel Hauck | ||||
| Outstanding Lighting Design (Play or Musical) | Bradley King | ||||
| Outstanding Sound Design (Play or Musical) | Nevin Steinberg and Jessica Paz | ||||
| Outstanding Orchestrations | Michael Chorney and Todd Sickafoose | ||||
| Chita Rivera Awards[74] | |||||
| Outstanding Choreography in a Broadway Show | David Neumann | ||||
| Outstanding Female Dancer in a Broadway Show | Amber Gray | ||||
| Outstanding Ensemble in a Broadway Show | |||||
| ACCA Award[75] | Outstanding Broadway Chorus | ||||
| Grammy Award | Best Musical Theater Album | Reeve Carney, André De Shields, Amber Gray, Eva Noblezada & Patrick Page (principal soloists); Mara Isaacs, David Lai, Anaïs Mitchell & Todd Sickafoose (producers); Anaïs Mitchell (composer & lyricist) | |||