Skip to main content Skip to footer site map
Review: HADESTOWN Exceeds the Hype at Benedum Center

Review: HADESTOWN Exceeds the Hype at Benedum Center

The genre-blending alt-folk musical tour takes Pittsburgh by storm.

We're living in an age in which a musical exists tangibly, not just theoretically or ephemerally. Between social media, television appearances, the rise of the proshot and the mainstreaming of bootlegs, no one needs to listen to a cast recording and wonder what the show that connects the dots is like anymore. You can see huge chunks of it, if not the whole thing, at the touch of a button. Purists and naysayers have complained that this ruins the specialness of theatre, but far from it: the rise of new media access has driven people to musical theatre who previously had neither access nor interest, and has pushed Broadway back into mainstream pop culture for the first time since the 1960s. Now that science fiction and comics are the monoculture, musical theatre is the new nerd niche in waiting. Almost no show has thrived and blossomed in this "all eyes on me" atmosphere more than Anaïs Mitchell's folk-opera Hadestown, which has very publicly evolved through a series of readily-available rewrites and incarnations into the brilliant finished product touring today.

After its premiere, many critics described Hadestown as the second coming of Hamilton, mostly for its multigenerational popularity, genre-bending sounds and diverse cast (which has only grown more and more diverse as time goes by). It's actually more accurate to draw a line between Hadestown and RENT, both of which are written in a mix of song and free-form rhyming couplets and concern the power of music to forge bonds that conquer even death. Mitchell's magnum opus is a much more polished and nuanced work than Larson's, but Mitchell had the luxury of a series of revisions and improvements over the course of a life still ongoing. Like Orpheus, she has been constantly and consistently "working on a song."

The story, as staged by director Rachel Chavkin in a post-apocalyptic Dust Bowl of industrial Americana, concerns earnest but eccentric songwriter Orpheus (Chibueze Ihuoma) and his fiancee, the migrant worker Eurydice (Hannah Whitley). The seasons are out of whack, partially due to some unspoken but implied environmental disaster and partially due to the erratic presence of Persephone (Lana Gordon), the life-giving goddess who splits her time between the world and the underground Hadestown, domain of death god and industrialist populist Hades (Matthew Patrick Quinn). Orpheus labors over his quest to write a song good enough to reset the balance of nature, and in the process loses starving Eurydice to the promise of security and food in Hadestown. Thus begins his epic saga to win her back, and maybe start a revolution at the same time, sometimes aided and sometimes opposed by the mercurial narrator figure Hermes (Nathan Lee Graham).

There are times, and I'm surely not the only one to say so, when the magic-realist conceits of the show clash against its more realistic presentational impulses. I'm inclined to think much of this ambiguity is intentional, as it blurs the line between metaphor and total reimagining: is Hadestown in this telling a hellish underworld of life after death, or is it a fascist enclave south of the border (whichever border the story takes place north of)? Is Eurydice dead, or a wage slave? While it's tempting to say "yes, all of the above," I think that simplifies things more than Mitchell and Chavkin intended. This is a magic-realist piece where you're supposed to wonder about things that aren't spelled out. There are obvious sociopolitical resonances, but this isn't Narnia or Urinetown, a cut-and-dried allegory. It's just what it is, a myth, a folktale.

As is usual for national tours, the cast is excellent, split about evenly between performers breaking the mold of their predecessors and performers clearly existing in the shadow thereof. Chibueze Ihuoma plays a gentler, simpler Orpheus, leaning into the implication that Orpheus may be neurodivergent and not just a creative airhead. He sings more of the show in his own voice and his soulful falsetto, rather than the intentional (and symbolic) imitation of Jeff Buckley which Reeve Carney affected on Broadway for much of the show. His counterpart, Hannah Whitley, goes in the oppoiste direction, creating a tougher and more weathered and world-weary Eurydice in comparison to Eva Noblezada. Her acoustic ballad "Flowers" in Act 2 often feels like a lament, while here Whitley makes it a suppressed scream of frustration. Nathan Lee Graham lands right in the middle with his pitch-perfect Goldilocks of a "just right" performance as Hermes. Funny, flamboyant and a little sinister, like a drag-show version of a Baptist preacher, Graham leers, minces and struts his way through the show much like the Grand Duke of theatrical archness, Andre De Shields.

Matthew Patrick Quinn's Hades feels the most removed from his predecessor. Tall, lanky and rubber-limbed, he's a younger, looser Hades than the impenetrable brick wall played so memorably by Patrick Page. There's a sense of malicious fun in Quinn, who seems to revel in "the art of the deal;" sometimes it runs contrary to the implications that Hades feels nothing at all to avoid feeling hurt, but it lends a weird, devilish glee to much of Hades's machinations in Act 2. Lana Gordon's fun-loving Persephone, ever the life of the party, feels less like an odd couple and more like a soulmate to Hades; whenever she takes center stage for a jazzy musical number and some of David Neumann's delightfully awkward and ungainly choreography, you can almost feel spring returning. She's less of a chaotic hot mess than Amber Grey portrayed in her original Persephone; this goddess may have a problem, but she doesn't have a pronounced drinking problem.

Why have I spent so much time in this review talking about previous performers, and about new media or bootleg culture? Because it's working. Theatre is slowly going the way of concerts and accepting that social media, bootlegging or at least active audience engagement with the material will NOT kill the art form off. Instead, look at the crowds at this Pittsburgh tour of a musical with no famous cast members, no famous writer, and not based on a well-known pop cultural source material: people are excited. People are bragging that they got to see it. People are sharing their reactions online like it's 2016 and they just got to see Hamilton. Theatremakers worldwide, I hope you're taking notice of this, and taking notice of the insane run on Taylor Swift tickets as well: the gathering of people together to make art is special, but it's not more special than the art itself. Theatre is a church service that can be accessible to all, not a Masonic ritual to be performed behind closed doors for the enlightened, the connected and the wealthy. And providing access to what's inside somehow only makes the collection plate fuller. I raise my cup to that.

Related Stories
HADESTOWN National Tour Comes to Playhouse Square This Month Photo
Hadestown, the winner of eight 2019 Tony Awards including Best New Musical and the 2020 Grammy® Award for Best Musical Theater Album, will come to Playhouse Square from January 31 - February 19, 2023 as part of the 2022-23 KeyBank Broadway Series.

Review: Learning and Losing at Love with HADESTOWN at Dr. Phillips Center for the Performi Photo
Unlike the traditional figures in Greek mythology, Orpheus is a hero, but not a warrior. He's an artist, but not a celebrity. He's a man, just a man, and one whose entire literary journey is focused on the love of a woman. Compared to Perseus or Achilles or Jason, Orpheus's tale almost always depicts how love drives him.

HADESTOWN National Tour is Coming to Playhouse Square in 2023 Photo
Hadestown, the winner of eight 2019 Tony Awards including Best New Musical and the 2020 Grammy® Award for Best Musical Theater Album, will come to Playhouse Square from January 31 – February 19, 2023 as part of the 2022-23 KeyBank Broadway Series.

Lana Gordon Joins HADESTOWN National Tour for a Limited Time Photo
Lana Gordon, who previously starred as Persephone in Hadestown on Broadway (taking over the role from its originator, Amber Gray), will be joining the National Tour of Hadestown as Perseophone for a limited engagement through November 19. 

From This Author - Greg Kerestan

A long-time BWW regular, Greg Kerestan is proud to join the staff of his favorite website. Greg is a graduate of Duquesne University and Seton Hill University, where he studied both theatre and Eng... (read more about this author)

Review: HAIRSPRAY at Benedum Center Is A New Golden OldieReview: HAIRSPRAY at Benedum Center Is A New Golden Oldie
January 6, 2023

This super-sixties musical continues to feel fresh, while also seeming like it's been around forever.

Review: A CHRISTMAS STORY Is A Perfect Salty Cookie at Pittsburgh Public TheaterReview: A CHRISTMAS STORY Is A Perfect Salty Cookie at Pittsburgh Public Theater
December 9, 2022

The smartest, stupidest, most beloved Christmas tale of the twentieth century comes to life, and then some, in Michael Berresse's farcical production.

Review: FRONT PORCH CABARET Reunites Old Friends at Front Porch TheatricalsReview: FRONT PORCH CABARET Reunites Old Friends at Front Porch Theatricals
November 30, 2022

Front Porch announces a season of Finn and Sondheim, in an evening of song and stories. As far as I'm concerned, if you want to measure the pulse of the Pittsburgh theatre scene, you will feel it the most intensely and regionally in Front Porch. The company's mission to produce exciting musicals specifically highlighting the talents of Pittsburgh-area artists makes it feel somehow organically part of the community; much as I love seeing the talents of major Broadway stars at Pittsburgh CLO every years, there's a thrill in seeing a Front Porch show and knowing 'all of this was made here.' Though Front Porch's impresario and producer Leon S. Zionts passed away several years ago, he has remained an active member of its creative community, as the shortlist of shows he crafted with fellow producers Bruce E. G. Smith and Nancy D. Zionts continues to guide the company's mission statement forward.

Review: HADESTOWN Exceeds the Hype at Benedum CenterReview: HADESTOWN Exceeds the Hype at Benedum Center
November 20, 2022

The gritty folk-opera sensation isn't the second coming of Hamilton, it's the second coming of RENT.

Review: FRANKENSTEIN Resurrects a Classic at Prime StageReview: FRANKENSTEIN Resurrects a Classic at Prime Stage
November 11, 2022

What did our critic think of FRANKENSTEIN at Prime Stage? I'm a lifelong horror buff, devouring the Famous Monsters of Filmland on celluloid and printed page, as well as the artsy, philosophical 'elevated horror' that has become a literary and cinematic movement in the last decade. Both the schlocky and the thoughtful branches of horror can both trace their roots back to the shadow cast by Mary Shelley's Frankenstein and its innumerable adaptations. For whatever reason, her novel itself has never been a favorite of mine, though I love the way she bucked convention and gender roles to invent literary science fiction and elevated horror. Maybe it's because Frankenstein has transcended being a character on the page in a story with a beginning and end, and become a genuine folk icon. Even a perfect adaptation of Shelley's novel will feel incomplete because the idea of Frankenstein is now so much bigger than the text of Frankenstein. Here, science fiction writer Lawrence C. Connolly and director Liam Macik thread the needle of the Frankenstein myth in an adaptation that stays unusually true to Shelley's novel but nods to sources beyond.