Broadway In Chicago presents the Chicago Premiere of HADESTOWN, winner of eight 2019 Tony Awards including Best New Musical and the 2020 Grammy Award for Best Musical Theatre Album.
HADESTOWN captivates from the first few notes of “Road to Hell”. The charismatic Levi Kreis (Hermes) welcomes us to this Greek Tragedy co-existing in the real world and the underworld. Kreis serves as narrator for the audience and official Netherworld guide for gods, goddesses and nymphs. He amusingly introduces us to legendary mythological characters (who’s who cheat sheet also available in the Playbill). And he familiarizes us with the rhythms of the seasons and the cyclical nature of life as controlled by deities.
Tony Award-winning singer-songwriter Anaïs Mitchell (book, lyrics, music) dusts off centuries-old myths and infuses them with musical pizzazz. At the core are the two love stories of recently smitten Orpheus (played by Nicholas Barasch) and Eurydice (played by Morgan Siobhan Green) and the more seasoned couple Hades (played by Kevyn Morrow) and Persephone (played by Kimberly Marable). Mitchell weaves traditional marital woes of finances, work obsession, and the classic ‘I called you and you never answered’ into her epic tale. And below the surface of these ordinary annoyances, she layers in the subtle relationship killer…doubt.
In the pinnacle number “Doubt Comes In”, Director Rachel Chavkin masterfully uses her Fates (Belen Moyano, Bex Ordorisio, Shea Renne) and her Lighting Designer Bradley King to create this riveting passage between worlds. It’s one of many scorching visuals aided by the design team (King, Rachel Hauck-scenic, Michael Krass-costume, Kevin Steinberg & Jessica Paz-sound, Jennifer Mullins-hair). When Kreis blows his conductor whistle, lights flash, fog rolls, doors open and the train to hell arrives. The imaginative storytelling is continuously engaging. Choreographer David Neumann also adds his own innovative movements. He uses playful table placement for the lovestruck Barasch to cross the stage. Newman then contrasts that with harsh, crouched rhythm to illustrate the damned in synchronized monotony. This look of despair is marring. The entire show is hellishly stunning!
Mitchell collaborated with Chavkin to develop HADESTOWN. Their alliance, forged in Hades, perfectly depicts ‘the world we dream about and the one we live in now.’ Chavkin orchestrates the sublime ensemble in tethering the audience to the action and the emotion. The effervescent Marable makes every entrance a show-stopper. Between her powerhouse singing and comedic timing, she crushes it as “Our Lady of the Underground.” Morrow commands as the King of Hadestown. His sultry bass is unforgettably soul-stealing. And the tender-hearted romance between Barasch and Green is a wonderful balance between idealism and reality. Their romcom chemistry has everyone silently praying for their deliverance from hell.
Along with the ensemble, the Fates, the Chorus and the orchestra add to the storytelling showcase with their ongoing presence above ground, in hell and onstage. The multiple parts work in synergy to present this epic tale. In particular, the orchestra has a delightful New Orleans funeral vibe led by the animated Trombonist Audrey Ochoa.
HADESTOWN is a transfixing ode to love, hell and the in-between. I’ve been to hell and back and I’d go again. You should too! It’s only in Chicago for a limited time so buy your ticket and get on the ‘Road to Hell.’
Running Time: Two hours and thirty minutes with one intermission
CIBC Theatre, 18 W. Monroe
Book, music and lyrics by Anaïs Mitchell
Developed with and directed by Rachel Chavkin
Choreography by David Neumann
Music supervisor and vocal arrangements: Liam Robinson
Thru March 13th
For more information or tickets
Production Photos by Charlie Erickson
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