Hadestown: The Musical

by George Wolf

For the next week at least, Greece is most definitely the word at your local theatre.

While Christopher Nolan’s take on The Odyssey is wowing critics, audiences and box offices, the movie version of Broadway smash Hadestown combines the Greek tragedies of Orpheus and Eurydice and Hades and Persephone with an irresistible, jazz-infused treatment that dazzles from the opening glimpses backstage.

Screening in theaters for five nights only beginning July 24th, Hadestown unveils the “pro-shot” film capture of a reunion performance from last year in London. The five leads reprised their roles in the multi award-winning production, with veteran filmed stage feature director Brett Sullivan bringing new life to stage director Rachel Chavkin’s original vision.

Tony Award-winner Andre De Shields is a mesmerizing tour guide as Mr. Hermes, our host who explains “the road to hell is a railroad line,” as Anaïs Mitchell’s Tony and Grammy Award-winning score begins working it’s toe-tapping magic.

Young lovers Orpheus (Reeve Carney) and Eurydice (Eva Noblezada) face an uncertain future due to their life of poverty. When King Hades (Patrick Page and his delicious baritone) arrives to bring his wife Persephone (Amber Gray) back to the Underworld and usher in a harsh winter, Eurydice is intrigued by his offer to end her hunger and suffering. Urged on by the Fates, Eurydice signs Hades’s book and leaves Orpheus for a new life down below.

But Orpheus will not give up his quest to bring Eurydice home, and his commitment inspires Persephone to plead his case to her husband, leading to the legendary offer Hades extends to the couple for a final chance at their freedom.

Mitchell updates the classic myths with a timely parallel to our current chasm between the privileged and the struggling, and Sullivan bolsters that theme with a wonderfully active showcase for Rachel Hauck’s Tony Award-winning set design. Anchored by a rotating center stage with one circle descending to the Underworld, the set extends the movement outward to the dancing Fates, the terrific jazz musicians upstage and the frequently pacing Mr. Hermes.

Sullivan mines that sweet balance between framing the totality of the audience view with the more intimate moments a camera allows. Overplaying this hand would betray the innate beauty of a pro shot experience, but here the pushes only to accentuate the emotion of the performances, the detail of the production design and the richness of the costuming (bonus points for turning Page’s cane and walking boot from an Achilles injury into a menacingly cool addition to the Hades swagger).

And much like its mythological sister The Odyssey, Hadestown‘s extended length (2h 21m) only gives you more time to relish the experience. The brief screening window (remember, only five nights beginning this Friday) however, does not.

So don’t miss your chance to bask in the joy and pain, tragedy and hope that Hadestown finally brings to the big screen. And get ready to put those jazz hands together, early and often.