There is a magic to Hadestown that, as the show alludes to several times, will make the audience want to revisit it again and again. There is something to the lyrical poetry of Anais Mitchell’s Tony-winning work that is unlike any other touring production, presenting something new in the old. It’s Mardi Gras-meets-Theater as the cast, rather abruptly, takes to the stage every night while waving at the crowd, warming up as narrator Hermes takes his position. With an immediate fourth wall break, it allows the audience to feel a deep connection with the themes at the center. This may be a song “from way back when,” but it’s ultimately one of the virtues we place upon ourselves, to sacrifice our lives for a creative spark and passion for others that could change the world. Hadestown is far from the most triumphant musical currently touring this nation, but as its latest stop at The Segerstrom Center for the Arts would suggest, it’s one that’s very much worth seeing (especially with a crowd).
One of the most exciting components of this first national tour has been watching which parts of the show are more malleable. Having seen the show also at The Ahmanson Theater in Los Angeles, CA, I was quick to notice that the role of Orpheus was replaced by Chibueze Ihuoma. While the majority of the cast remains similar, there is something interesting about the small changes. He is often vocally a feeble character, thought of as scrawny and fighting a gridiron force. The image is powerful and works as he faces his foe Hades (Kevyn Morrow). This isn’t to say that Ihuoma is wrong for the part, but he brings a different kind of shyness that works better for the character, especially as he finds his inner strength towards the end of Act I and in such barnstorming moments like “Wait for Me.” Similarly, those expecting an Andre De Shields type for Hermes may be initially put off by the younger Levi Kreis. However, once things get rolling, it all makes sense and this show’s lack of type-casting works to bring something new to each actor’s interpretation.
The setting can be described as a bar, where the social interactions come and go as fluidly as the music. There are big theatrical moments (warning for the photosensitive, there are scenes featuring bright rear-projection lights) that are among the most astounding staging. Even then, there is a sense of camaraderie that blasts through every song, requiring backup dancers (known as “The Workers”) to execute jubilant choreography where even the main cast gets their own solos. More than anything, Hadestown is a show that feels alive with purpose. It enjoys the creativity of music but also understands the power of a song. To watch Kreis add a little Nashville rock ‘n roll flair to his vocals on “Livin’ It Up On Top” as The Workers cheer him on is the stuff of beauty. It feels improvised, so in the moment that one can’t help but feel connected, like they’re in the room watching this raucous occasion.
As much as this is a story about something inherently sad to the point it predates Orpheus’ introduction in the whole show, there is something to be said for why Mitchell thought this story was worth telling this way. It’s in the moments like watching The Workers spin on a stage to “Chant” while doing the creakiest choreography with hard consonants in the lyrics to define the grinding ache of the gears they’re holding together. Meanwhile, Morrow delivers a swagger to Hades that comes in handy during Act II as he finds ways to mock Orpheus and place just the right level of doubt in the overall narrative. With a miraculous blend of intimacy and energetic force, the show manages to capture a scope that is unfathomable for such limited set changes. In fact, the greatest moments come when the lights go down and minimalism requires the audience to cleverly work their imagination.
Hadestown as a production is a breathtaking sight to behold. With many pieces juggling at once, it’s a celebration of what the theater was created for. On the one hand, its staging allows for some unexpected thrills, notably in how the instruments are amplified during key scenes. At others, there is something for how The Fates (Belen Moyano, Bex Odorisio, Shea Renne) navigate the stage both as physical characters but also some metaphysical embodiment of varying characters’ internal monologues (not to mention their excellent three-part harmonies in moments like “When the Chips Are Down”). Every piece of the show matters to the bigger story, and the fact it builds to an emotional crescendo that is powerful despite predictability reflects the power of theater. It’s not so much deterred by the knowing, but the experience of living in communal wonderment.
Most importantly, to experience this within a theater along with the onstage energy is one of the greatest experiences one can allow for themselves. One doesn’t need to be a fan of the New Orleans jazz and Delta blues the melodies pull from to appreciate the story. If anything, it helps to show the malleability of art, that it can be interpreted in a variety of ways and still appeal to audiences eager for a good show. When Hermes first allows the audience to cheer at his debonair attire, it’s a freeing moment that has the greatest impact. It welcomes everyone in, allowing for several showstopping moments that have led to rapturous applause. To be caught up in that excitement reminds audiences of what the theater was missing when it closed just shy of Hadestown’s originally planned first national tour.
Now that live events have an easier way of navigating potential setbacks, it’s thrilling to know that this show will be inducted into a new essential every time it hits a nearby city. Given that the show has already played with compelling casting choices, it's likely that the combinations that make this show pop with life will only continue to surprise as the years carry on and new interpretations are made. At its core, it’s still a phenomenal show that delivers every piece of necessary theater. The music has the potential to be timeless and the iconography has already become recognizable in Broadway circles. Everything about the show feels destined for an endearing legacy. If one doesn’t believe me, get down to Hadestown and try not to cheer along when “Road to Hell” introduces that cast of characters. It’s the set-up for a fantastic night of theater and one that will hopefully resonate long after you’ve left the venue.
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