It's an old song. It's a sad song. But we sing it anyway. Such is the song of
Hadestown, the 2019 Tony winning best musical that's returning to Minneapolis this week. Three years since
the last time I saw* it and it's even more meaningful and powerful in light of the state of the world right now. This brilliant musical written 15+ years ago speaks to the struggles of the working class and the dangers of a despotic ruler in a way that strongly resonates in 2025. These themes are explored through the story of
Hades and Persephone, whose relationship is responsible for the changing of the seasons (according to Greek mythology), as well as
Eurydice and Orpheus' tragic love story. Singer/songwriter Anaïs Mitchell turned this sad old song into a song cycle, a folk opera which she first recorded with some of her folk singer friends in 2010 (which I heard her perform at the loveliest little folk festival in Minnesota,
Storyhill Fest). It took almost a decade to turn that song cycle into a Broadway musical, with help from visionary director Rachel Chavkin. The result is this stunning piece of music-theater that's wholly unique and original. I was
lucky enough to see it on Broadway (where it's still playing), and now twice on tour. Because even though we know how this song ends, as long as they keep singing it I'll keep listening with rapt attention. Experience the song of
Hadestown at the Orpheum Theatre in downtown Minneapolis through Sunday only (
click here for info and tickets, including student/educator rush).
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our guide Hermes (Jaylon C. Crump)
(photo by Evan Zimmerman for MurphyMade) |
Our version of this sad old song is told by Hermes, the winged messenger of the gods. Here he appears as a sweet singing, three piece suit wearing man who introduces all of the characters in our story: Hades, the lord of the Underworld, known here as Hadestown, a sort of industrial factory; his bride Persephone, who leaves him once a year to return to the world and bring the spring; Orpheus, an idealistic poet and songwriter; and Eurydice, a hungry drifter. Orpheus and Eurydice fall in love, as the story goes, and when she goes to Hadestown to work for Hades in order to provide for them, Orpheus follows and tries to bring her home. But we know how that story goes, and no matter how much we wish it could turn out differently, the sad ending comes. But that doesn't stop this troupe from telling it again and again, because the beauty is in the telling. I've never know anything so desperately sad, and so radiantly hopeful at the same time.
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Eurydice (Megan Colton) and Orpheus (Bryan Munar)
(photo by Evan Zimmerman for MurphyMade) |
This 13-person cast is strong across the board, and they all bring their own unique talents and personalities to the roles in a way that makes you forget any other portrayal. Jaylon C. Crump is a fabulous Hermes and a wonderful guide through the story, performing with a twinkle in his eye, but also getting serious as the story progresses. Nickolaus Colón is deep, dark, and scary as Hades, with a gorgeously resonant voice, and also shows us a little bit of vulnerability beneath the shiny steel-toed veneer. Namisa Mdlalosa Bizana is buoyant as his Persephone, bringing in the spring in a fun and almost seemingly careless way. Bryan Munar is a beautifully dreamy Orpheus with a lovely falsetto. But if I had to pick a standout in this incredible cast, it would be Megan Colton, whose Eurydice is so authentic and heart-felt. Megan notes in her bio that she's a singer/songwriter, and she definitely has a singer/songwriter vibe (in the best way), while displaying great range in her vocals, from soft and breathy, to strong and belty, and everything in between. The way she sings these songs is to make them wholly her own.
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Hades (Nickolaus Colón) and Persephone
(Namisa Mdlalosa Bizana) with Orpheus (Bryan Munar)
(photo by Evan Zimmerman for MurphyMade) |
In this relatively small cast, the ensemble plays a big role, and this one is fantastic. A gorgeous feature of this score is the three-part harmonies employed by the ever-present Fates, and Katelyn Crall, Miriam Navarrete, and Alli Sutton fulfill those roles beautifully. And the show wouldn't be what it is without "the hardest working chorus in the gods' almighty world" - Randy Cain, Miracle Myles, Kaitlyn O'Leary, Mikaela Rada, and Joe Rumi - providing backup singing, dancing, and character. One of the great things about this show is that each member of the cast and band gets introduced, and each is treated as an individual with unique talents that they get to show off.
Anaïs Mitchell's Tony winning score (only the second woman to win this award solo, after Cyndi Lauper) has such a unique sound for Broadway - folk, blues, New Orleans jazz. It's performed by an incredible seven-piece onstage band - piano, percussion, guitar, strings, and trombone (Haik Demirchian getting to take center stage in what has got to be the best gig for a trombone player in all musical theater). Anaïs' songs are so soulful and emotional, both musically and lyrically, and this touring cast does them justice under Music Director and pianist Cole P. Abod. Flowing with the constant music, the choreography and movement (by David Neumann) is cool, modern, and urgent.
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| the cast of Hadestown (photo by Evan Zimmerman for MurphyMade) |
Everything about the production design of this show is so thoughtful and consistent in creating this dark but hopeful world. The multilevel set has the band place on either side, with Hades peering out from a New Orleans style balcony in the center (no turntables this time, but if you didn't know they used to be there you wouldn't miss them). The lighting design creates some breathtaking moments, with bright headlamps shining out into the audience, swinging lamp lights, and other impressive tricks that don't overpower the story but rather add impact. Costumes are a modern grungy chic, with colorful earthy wear for Persephone (I love her ombre fur coat), elegant gray ragged dresses for the Fates, and sleek suits for Hermes and Hades.
Despite being based on such an ancient story, Hadestown has so many relevant and timely themes. But maybe that's not surprising; the reason these old stories are still with us is that they speak to the very nature of being human. Poverty, the working class, despotic rulers, love and grief, the desire to survive and thrive as humans. A beautiful story, brilliantly told, and a unique Broadway musical very deserving of continuing to be told for six years and counting.
This quote from the show has never resonated more deeply, and may be my regular toast for the next four years:
To the world we dream about
And the one we live in now
*Much of this post is adapted from my review of the 2022 Broadway tour.
