Review: Come Way Down to Hadestown
While the stories of the Greek myths have been told over and and over again, Hadestown brings something new to these ancient tales. Directed by Keenan Tyler Oliphant and based on the original Broadway production from Rachel Chavkin, Hadestown combines the myth of Orpheus and Eurydice with the story of Hades, the god of the Underworld, and his marriage to Persephone.
Led by messenger god Hermes (Jaylon C. Crump) as narrator, the production opens with an upbeat, jazzy number (“Road to Hell”) chock full of T. Oliver Reid’s gorgeous choreography (based on original Broadway choreography from David Neumann). Crump is dazzling in his silky silver suit and glittery shirt as he introduces both gods and mortals with energy like a bullet train, providing context for the rest of the show.
Hadestown North American Touring Company
As Eurydice (Megan Colton) and the Fates (Katelyn Crall, Erin McMillen, and Miriam Navarrete) describe the famine and harsh winter that become the catalysts for the production’s events, they fill the room with haunting harmonies in their number “Any Way the Wind Blows.” Their lingering echoes and the Fates’ ability to slip in and out of the shadows builds on the ancient Greek idea that the Fates are the physical incarnation of destiny: always there and unavoidable.
Megan Colton (Eurydice) and Bryan Munar (Orpheus) in Hadestown North American Tour
Orpheus (Bryan Munar) falls in love with Eurydice as soon as he sees her and asks her to marry him. While she is skeptical of his proposal, he tells her he is writing a song that will end winter and bring back the warmth and food of springtime (“Wedding Song”) before effortless flowing into the story of Hades and Persephone. His song explains that her arrival to and departure from the world above causes the changing of the seasons (“Epic I”). But with most of Orpheus’ songs being light, airy, and sung mostly in falsetto, it is not until the end of Act I that Munar gets the true vocal moment he deserves in his number “Wait For Me,” full of those classic, musical theater, leading man hero moments as he laments the love he lost to the Underworld.
Although a mere mortal, Colton (as Eurydice) sings like a goddess. She expertly combines sassy zingers and Eurydice’s pessimistic charm with a blossom of hope as she falls for the charmingly hopeful Orpheus in their classically beautiful duet “All I’ve Ever Known.”
Namisa Mdlalose Bizana brings the party to the stage as Persephone, the goddess of springtime. Her escape from the Underworld is cause for celebration (“Livin’ It Up On Top”) as she brings both the literal and metaphorical sunshine to the room. This fast-paced number is a celebration of life and serves as a stark contrast to Bizana’s later numbers with Hades (Nickolaus Colón) in which they must face the bitter reality of their fraught marriage. Their chemistry proves to be unmatched, and the fragility of Persephone and Hades’ precarious relationship is a metaphor for unprecedented climate change: unstable, unpredictable, and irreparably damaging to those living with the consequences.
It is this fraught relationship that inspires Hades to seek out someone who will appreciate what the Underworld can provide: constant warmth and security. Colón’s deep, rich voice fills the room in numbers like “Hey, Little Songbird” and “Papers” as he entices Eurydice to sign away her freedom and join him in the Underworld.
Megan Colton (Eurydice), Namisa Mdlalose Bizana (Persephone), and Hadestown North American Touring Company
But it is the technical team that truly brings the production to life with their creation of the Underworld. With an industrial theme, very physical choreography, and a healthy dose of ceiling-lamp-ography, scenic designer David L. Arsenault (based on original scenic design from Rachel Hauck), costume designer Michael Krass, lighting designer Aja Jackson (based on original lighting design from Bradley King), and co-sound design from Nevin Steinberg and Jessica Paz, the Underworld is brought into the modern era. The production also features music, lyrics, and a book from Anaïs Mitchell.
Hadestown is not recommended for children under the age of eight, and contains some adult humor and content. Parental discretion is advised. This production utilizes theatrical haze and strobe lighting. The production runs at the Durham Performing Arts Center through Sunday, December 1, 2024. Tickets can be purchased here.
Additional production photos can be found below. All photo credit to Evan Zimmerman for MurphyMade.
