Tuesdays at 7pm
Wednesdays at 2pm and 7:30pm
Thursdays at 7pm
Fridays at 8pm
Saturdays at 2pm and 8pm
and Sundays at 3pm
In Hadestown, a song can change your fate. This Tony-winning new musical by Anaïs Mitchell and innovative director Rachel Chavkin is a love story for today, and always.
Intertwining two mythic Greek tales - that of young dreamers Orpheus and Eurydice, and of King Hades and his wife Persephone - Hadestown invites you on a journey to the underworld and back. Mitchell's alluring melodies and Chavkin's poetic imagination pit industry against nature, doubt against faith, and fear against love, with art perhaps being the one thing that can save it all. Hadestown is a haunting and hopeful theatrical experience that grabs you and never lets go.
Yes, composer Anaïs Mitchell's musical retelling of the Orpheus and Eurydice myth, which opened Wednesday on Broadway, sounds pleasant and looks more expensive than it did in 2016 at New York Theatre Workshop. But this classic tale of love - he looks back, she gets trapped in the underworld for all eternity - is still too slick and sterile for us to give a damn about her damnation.
Hadestown has arrived on Broadway. Like so many of its mythic antecedents, it's the product of much metamorphosis, and its current manifestation feels lush, vigorous, and formally exciting, not to mention, in certain moments, witchily prescient.
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