A Sad Song, But We Sing It Anyway

Hadestown – Broadway in Chicago

In Greek mythology, Orpheus is the world’s greatest poet; here he’s an accomplished composer and lyricist of the kind of songs that make the whole world sing. Eurydice is the all-consuming love of his life, a beautiful young lady he meets by chance. He charms her with his music and by magically turning a crumpled piece of paper into a lovely red flower. This becomes the musical’s symbol of undying love. Then there’s lovely Persephone, a joyful, free spirit, whose beaming smile brings Springtime back to the world whenever she returns from below. You see, Hades, the God of the Underworld, once saw Persephone and fell in love with her. He then brought her down to Hadestown, plunging the world above into eternal Winter. Persephone agreed to marry him if he’d allow her to return to earth for half of the year, where she’d bring flowers, wine, happiness and a new beginning for the world.

These two disparate stories are blended together by Anais Mitchell in her 2019 Tony Award-winning Best Musical. The journey to this accolade was long and complicated. Ms Mitchell, a gifted composer, lyricist and book writer, first developed the framework for this musical, back in 2006 as a song cycle. The concert successfully toured her home state of Vermont, and was then recorded as a concept album. By now, it had developed a cult following and it soon became a scrappy Off-Broadway show. But then the musical evolved a little more as it played in Canada and London. Finally, with the help of New York Director Rachel Chavkin, who guided the much-acclaimed immersive production of “Natasha, Pierre & The Great Comet of 1812,” the musical took its current shape. It opened on Broadway and became a hit with audiences and critics alike. Now, a first-rate National Tour production is playing in Chicago for the next two weeks, and serious devotees of thoughtful, innovative musical theatre should plan to experience this excellent show. It remains to be seen, however, if, with her presence, Persephone will bless The Windy City with an early Spring. We can only hope.

In the original myth, Eurydice is bitten by a snake and taken by Hades to his realm of the deceased. Orpheus travels to the Underworld to beg Hades, the God of the Dead, to return life to his beloved. In this production, Eurydice and Orpheus are so poor that meals and money are practically nonexistent. When Hades, who takes a liking to Eurydice, lures the pretty young girl to his kingdom, it’s with a promise of food and employment. He gives her two silver coins and, once in Hadestown, signs her to an unbreakable contract. But Eurydice soon discovers a life of eternal toil and misery in Hadestown and, to add to her pain, she’s also lost her one true love.

When Orpheus finally finishes writing his song and suddenly realizes that Eurydice has disappeared. He learns from Hermes, the musical’s impish narrator and fleet-footed messenger of the gods, and the Fates, three dark, ethereal women who breathe pessimism and doubt and determine everyone’s destinies, that Eurydice’s been kidnapped by the Lord of the Underworld. So Orpheus makes his way on foot down to Hadestown. The Underground world is a grim, overheated hell, a factory town, where its inhabitants toil endlessly in the mines. They manufacture bricks for Hades that will soon become an endless wall surrounding the city. 

When Orpheus arrives, Hades threatens to have him put to death. But Persephone persuades her husband to listen to the song the poet has composed about them. The beautiful words and melody melt Hades’ heart and he grants Orpheus’ plea to let Eurydice leave Hadestown with him. The only stipulation is a test that the young lovers must pass. As Hermes sings in “Road to Hell,” both at the start and conclusion of the musical, this story is an old song, a sad song; but we sing it anyway, and we sing it over and over again.

Rachel Chavkin’s breathtaking National Tour is a mirror of the superb original Broadway show. The production is enhanced by David Neumann’s funky and festive choreography, as well as the toe-tapping onstage band, conducted by musical director and pianist, Cody Owen Stine. Fashioned after the original Broadway scenic design, Rachel Hauck’s Creole style, two-story set creates the French Colonial look and flavor of New Orleans. With its wrought iron railings and staircases and its stuccoed buildings, the setting serves up Louisiana elegance and becomes another character in the story. Bradley King’s impeccable lighting design adds many more layers of visual majesty to this production, as do the flashy, authentic-looking costumes by Michael Krass. 

While I missed the gloriously gifted original cast, this company of talented actor/singer/dancers is nothing less than excellent. This entire cast represents the very best of musical theatre. The lovers are sensational, as portrayed by boyishly handsome Nicholas Barasch, as Orpheus, and beautifully earnest Morgan Siobhan Green, as Eurydice. Together their voices soar and the chemistry they create is solid. We believe their love for each other from the couple’s very first encounter. We also cheer for their triumph over evil at the end, although we know how this story is going to end.

As Persephone, Kimberly Marable lights up the stage with her brilliant smile, effervescent joy and wild abandon. She’s matched by the sultry and powerful Kevyn Morrow, as a frighteningly authoritarian Hades. With his deep vocals and commanding presence, Mr. Morrow creates a real force to be reckoned with. Levi Kreis is lithe and full of fun as Hermes, a Mardi Gras of magical mischief and mirth. His musicality is undeniable in every number. The three Fates almost steal this production with their eerie, sinister presence and magnificent vocal blending, especially in “Nothing Changes” and “Word to the Wise.” They’re played by the magnificent Belen Moyano, Bex Odorisio and Shea Renne. And the solid ensemble, collectively called the Workers Chorus, is made up of five strong performers, including Lindsey Hailes, Chibueze Ihuoma, Will Mann, Sydney Parra and Jamari Johnson Williams. These five singer/dancers personify and populate the never-ending hell that is Hadestown.

The story ends as it begins, with the audience letting out an audible, collective gasp as the fate of the two lovers becomes apparent. We’ve given in to their plight and followed their painstaking journey to hell and back. We all want the best for Orpheus and Eurydice, although in our hearts we know it’s not to be. That one, single moment at the end of this musical is gut-wrenching and yet inevitable. It’s the payoff for the time we’ve spent together with this cast and, although we know it’s coming, we still hope. 

Highly Recommended

Reviewed by Colin Douglas

Presented March 2-13 by Broadway in Chicago at the CIBC Theatre, 18 W. Monroe St., Chicago.

Tickets are available at all BIC box offices, at all Ticketmaster retail locations, by calling the Broadway in Chicago Ticket Line at 800-775-2000 or by going to www.BroadwayInChicago.com.

Further information about this and other area productions ican be found by visiting www.theatreinchicago.com.