Review: It's Not Hell, It's HADESTOWN

You might be more familar than you think with the story of Hadestown.

It's essentially the retelling of the Greek tragedy of Orpheus and Eurydice. Narrated by Hermes--played by a terrifically charismatic Levi Kreis, who infuses the role with bit of his Tony-winning performance of Jerry Lee Lewis in Million Dollar Quartet--the story is told through what feels like a New Orleans underground jazz club. Orpheus (Chibueze Ihuoma) falls in love with his muse, the wandering Eurydice (Morgan Siobhan Green). However, Orpheus, a musician, becomes consumed with his work, leaving the starved Eurydice to take shelter with Hades (Kevyn Morrow) and his wife Persephone (Kimberly Marable).

As Eurydice begins to forget her life on earth, Orpheus treks into "Hadestown" to rescue her. If you know the tale, you know it's, well...a sad song. Yet despite the shows ever-looming gloom, it manages to dig its feet into the joys of love and redemption.

Hadestown, which started as a "DIY theatre project" with book, lyrics and music written by folk artist Anais Mitchell, eventually made its way to a concept album before taking its turn on Broadway, where it won several Tony Awards including Best Musical.

Green's Eurydice is strong and spirited, playing well against Ihouma's dreamy idealistic Orpheus. Marable's Persephone steals the show with her spirit, and Morrow's Hades has a palpable darkness to his deep vocal tambor.

Each performer is a standout, from the heartbreaking lead lovers, to the trio of fates (Belén Moyano, Bex Odorisio and Shea Renne), who commanded the stage during each of their moments. The small chorus of Workers were also a strong and everpresent element to the production as well.

While Mitchell's music is a big reason to go, the show's visuals, including a clever set design and dynamic lighting design make the ticket purchase even more worthwhile. I found myself entranced by the ways the design took a dark stage and lit it in the most haunting ways.

It may be a trip down to Hell, but you sure don't leave feeling like it.

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