Levi Kreis is a charming Hermes “Messenger of the Gods.” He lures us in and moves the plot along with some recitatives and songs as our tour guide on the “Road to Hell” (one of the songs.) Nicholas Barasch as Orpheus has a superpower to make things right through song. His absolutely angelic high tenor voice contrasts with the dark, bass depths of the Hades, King of the Underworld, Kevyn Morrow. Kimberly Marable is the wild and wonderful Persephone, bringer of spring/summer, in a “troubled marriage” to Hades. Morgan Siobhan Green is a petite but powerful Eurydice, “the hungry girl” Orpheus loves. The three Fates and Workers Chorus are amazing, as are the on-stage musicians.
The choreography (David Newmann) is infectious and acrobatic, sometimes with furniture joining in to create sculptures that bring the lyrics to life. The lighting is dramatic and even invades the audience at times, illustrating power, energy, and the glowing gates of hell (Scenic Design Rachel Hauck). It was “developed and directed” by Rachel Chavkin.
Triple kudos to Anais Mitchell, who wrote music, lyrics and book. Her show feels both old and new, with the myths, and old-fashioned New-Orleans juke joint style, but still alluding to modern themes of environmentalism and economic inequality, the differences between “the world we dream of and the world we live in now.” It’s a sassy, jazzy, fabulous trip to hell and back.
Wharton Center requires masks for audience (with many attendees equipped to give you a mask if you forgot) but no temperature-taking or proof of vaccine.
Hadestown continues through December 12.
https://www.whartoncenter.com/events/detail/hadestown