“Myth is an attempt to narrate a whole human experience, of which the purpose is too deep, going too deep in the blood and soul, for mental explanation or description.” – D.H. Lawrence
We need myth, as we need food and water, and this particular myth is deeply resonant at this time. This myth is a tale of love and mistrust; music and dance; and light and dark. It’s a tale of power and exploitation. It’s a tale of joy and fear; greed and division. It’s a play about the power of myth.
This play is Hadestown, Anais Mitchell’s retelling of the tragic myth of Orpheus and Eurydice and winner of the 2019 Tony Award for Best Musical, which plays at the Kennedy Center from through the end of October this 2021-2022 season.
Director Rachel Chavkin’s production, staged in a Depression-era, New Orleans-style vision of the underworld, practically seethes with atmosphere, from the literal suffusion of red light and fog to the music’s potent blend of jazz, blues, and folk. The show opens on the “Road to Hell,” where we meet familiar mythological characters: Hermes, silver-tongued messenger, and the evening’s storyteller; Persephone, both goddess of spring and speakeasy queen of the underworld; Orpheus, the gifted and innocent musician; Eurydice, the streetwise but vulnerable runaway; the three mischievous Fates; and, finally, Hades himself, capitalist dark lord of the Underworld.
While the setting suggests the Depression era, the tale could be happening anywhere. Weary passengers wait for a train to an underground city-state called Hadestown, where there are promises of jobs and eternal security. Aboveground, in the warmth of spring and summer, idealistic songwriter Orpheus and his muse Eurydice are falling in love. But as winter approaches, reality sets in: these young dreamers can’t survive on songs alone. Hungry and tempted by the promise of plenty, Eurydice is lured to the depths of Hadestown, where working for the boss seems more like a living death. Determined to save her, Orpheus bravely journeys to the underworld. And as Hermes leads us through the sung-through story, these characters come alive with a gritty humanity that remind us again why those myths continue to resonate all these centuries later.
Tony Award-winner Levi Kreis makes for a seductive Hermes, skillfully bridging the role of narrator and participant, both commenting on and guiding the action. As Orpheus, Nicholas Barasch both sings and appears like the suitable offspring of Apollo. His innocent demeanor and angelic voice accentuate the light-filled beauty of his songs. He is complemented by the more earthy presence of Morgan Siobhan Green as Eurydice. Green’s solo number, “Flowers” reflects a soul in struggle, highlighting her character’s dilemma, torn between weary resignation and her idyllic love for Orpheus.
As Persephone, Kimberly Marable is a powerhouse presence, claiming the stage with her undulating body (and one point, hair) and songs like “Livin’ It Up on Top” and “Our Lady of the Underground.” Equally impressive is Kevyn Morrow, whose rumbling, deep-voiced Hades enchants even as it threatens. Meanwhile, the Fates – dreamily embodied by Belen Moyano, Bex Odorisio, and Shea Renne – float in and around the proceedings, sometimes encouraging, sometimes taunting, always enchanting.
Director Rachel Chavkin’s staging makes for a swirling, engrossing evening on designer Rachel Hauck’s gorgeously grungy sets, which are themselves filled with mechanical secrets and stunning uses of light. Choreographer David Neumann continues playing with the music and staging’s fiery, circular rhythms. Combine all that with Michael Krass’ costumes and Bradley King’s lights and you’ve got some serious theatre magic at play. You won’t soon forget “Wait For Me,” Orpheus’ number as he descends to hell.
Speaking of which, Anais Mitchell’s score is intoxicating, filled with catchy rhythms, haunting melodies, and clever word play. And the decision to place the excellent musicians on stage helps with the playful undercurrent of the piece, while also making trombonist Audrey Ochoa into a star in her own right. At the same time, the band’s presence also accentuates the sense of Hermes telling us a story in real time.
And what a story it is. There’s a reason these myths have survived for so long, and while Hadestown is beautiful to look at and inspiring to hear, undergirding the entire production are lessons and parables that continue to resonate in our own time. We all struggle with belief, both in ourselves and others. We all feel the compulsion to give in to our baser instincts. And most disturbingly, we still contend with forces of greed and exploitation and trickery and manipulation on both an individual and societal level. Hadestown drags these issues into the light, offering no answers, but reminding us how much truth can be found in a story.
And all that is just on the surface. The show is filled with layers, many of which will take time and thought – and maybe even additional viewings – to unpeel. A song like “We Build the Wall” could warrant a thesis all by itself.
Hadestown is a triumph. Broadway is back. Long live the power of musical theatre.
Hadestown plays through October 31, 2021 on the Opera House Stage of The John F. Kennedy Center for Performing Arts— 2700 F Street NW in Washington, DC. For tickets call the box office at (202) 467-4600 or purchase them online.
