Review: HADESTOWN at Rochester Broadway Theatre League

These days original musicals are a rare and elusive treat, what with the explosion of movie adaptations and star-studded revivals of well-known shows being all the rage on Broadway. Economics are a huge contributor to this reality; with theatre being a notoriously perilous investment, the least risky bet is usually the one starring Hugh Jackman or Bernadette Peters. Artistically, bringing a new musical to fruition is a long, oftentimes years-long process involving endless rewrites, workshops, and pages on the cutting room floor. Given this, it's astonishing that "Hadestown" exists at all; a folk/gospel musical based on Greek mythology? I can't imagine a tougher sell. Not only does "Hadestown" exist, it astonishes.

"Hadestown", the Tony Award-winning musical with music, lyrics and book by Anaïs Mitchell, first premiered on Broadway in 2019. From Stageagent: "Orpheus (Chibueze Ihuoma), a passionate and talented musician, and Eurydice (Hannah Whitley), an independent and resilient young woman, fall in love at first sight, as though it was--and perhaps is--destined by The Fates (Dominique Kempf, Belen Moyano, Nyla Watson). Though neither has much to their name, Orpheus is determined that love will see them through anything. Their love blossoms in spring and flourishes in summer, but is tested when autumn and hardship come. Hardship breeds doubt and difficult choices must be made. When Eurydice unknowingly signs away her soul to Hades (Matthew Patrick Quinn), master of the factory Hadestown, Orpheus is prepared to venture to hell and back, armed with nothing but his music and his love, to bring her home once more."

This touring production of "Hadestown" could not have been better cast, with each performer taking turns captivating the audience and delivering lush, emotional musical performances. Ihuoma's Orpheus is tender and naïve, with a signature falsetto that emphasizes his youth and innocence. Nathan Lee Graham's Hermes is sassy and playful, the perfect narrator to guide the audience through the story. Lana Gordon's Persephone has contagious energy and spirit. And towering above them all is Matthew Patrick Quinn's Hades, a sinister and bone-chilling stage presence whose baritone voice and maniacal laugh can almost certainly be felt from the parking lot.

The way "Hadestown" infuses music into the storytelling also sets it apart from its recent Broadway contemporaries. Rather than having an orchestra down in the pit and used only as accompaniment to the singers, "Hadestown" puts the band right on the stage and lets them interact with the actors; the trombone practically feels like an additional member of the cast. The instrumentation of the band is in no way traditional, with an upright bass, blues acoustic guitar, brass, and backstage drumset blasting away at a score that's equal parts gospel, jazz, folk, and spiritual.

Narratively, it's hard not to pick up on major sociological themes and societal critiques, making "Hadestown" feel especially topical. While "Hadestown's" journey predated the Trump era (Anais Mitchell started penning the score back in 2006) a song called "Why We Build the Wall" sure feels especially prescient, and you could easily argue that Hades' underworld factory is a giant allegory for modern-day America, where the wealthy dominate the poor and the privileged look down on poverty in all its forms.

Not many musicals combine excellence in artistic performance, production design, and storytelling; "Hadestown" is in a class all its own.

"Hadestown" is a powerful and passionate musical, and certainly one of the lushest and most well-crafted original shows to grace the stage in recent years. It's currently playing at RBTL's Auditorium Theatre until March 19th, for tickets and more information click here.

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