Hadestown
Reviewed by Socks Whitmore
Ahmanson Theatre
Through May 29
RECOMMENDED
The Hadestown North American tour was yet another victim of COVID-driven cancellations back in 2020, but at long last the Tony and Grammy-winning musical has made its way to the West Coast. “The myth, the musical” weaves together two classic tales from Greek mythology with an American flavor: the tragic love story of Orpheus and Eurydice, about a musician who tries to rescue his lover from the underworld, and the complicated romance between Hades and Persephone, which explains the changing of seasons as the goddess of nature’s time with and apart from her king-of-the-underworld husband. The folk and jazz-flavored show will be enchanting audiences across the country well into 2023.
For anyone who had any doubts, Hadestown more than lives up to its hype; it contains a rich tapestry of musical brilliance, numerous showstopper moments, and the narrative’s powerful parallels to modern-day society. Like Hamilton and Come From Away, the entire story can be gleaned from the cast album recordings due to the show’s sung-through nature, but those who got hooked on the tunes will not want to miss what happens on stage. The costuming makes excellent use of color and uniform, especially the contrasting summer and winter dresses of the goddess Persephone. The lighting design makes brilliant use of light and darkness, including the iconic swinging light fixtures of the titular Hadestown. The choreography is nearly as constant as the music, and spans a diverse range of styles and movements – not to mention the fantastic utilization of the revolving turntable platform in the center of the stage. And if the exceptional vocal performances weren’t enough, the actors playing Orpheus and the Fates also play instruments while they dance, sing, AND act.
Every element of the production design is outstanding, but it’s the live performers who make this show. The on-stage pit is populated with multi-talented musicians who continue to perform as the risers they sit upon move back and forth. A tip of the hat must be given to the trombonist, Audrey Ochoa, for doubling on glockenspiel (an unusual pairing of skills in the music world) and raising applause from the audience more than once with her dancing and musical solos.
The vocal performances are also stellar across the board. Hadestown is likely unique in its inclusion of both a true bass role and a falsetto-heavy role in the vocal writing, but the unorthodox choice is memorable and exciting. Nicholas Barasch as Orpheus, who is perfectly cast for the sweet, naïve musician character, displays masterful control over his falsetto. His ability to project in that range is impressive, though if you aren’t a fan of the falsetto sound, you may find the use of it in the show excessive by the end. Kevyn Morrow has big shoes to fill for fans of the Broadway cast album familiar with Patrick Page’s impossibly low rumbles, but despite not having those extremes fully in his range, Morrow makes the role his own and delivers a very different, yet just as successful rendition of the infamous “Why We Build the Wall.” Levi Kreis as Hermes makes for a delightfully lively and playful narrator, though folks with auditory processing difficulties should be aware that the Tennessee lilt to his lyrics can at times make the exact words hard to understand. Add to this the delicious harmonies and compelling unisons provided by the two choruses: the ensemble Chorus and the Fates trio – the show simply wouldn’t be the same without them.
It would be remiss to reflect on Hadestown and not mention the implications of its themes, especially when noting how refreshingly colorful the cast is. The themes of classism, toxic capitalism, and inescapable servitude in a dying world hit hard, for reasons both past and present. It is wonderful to see so many BIPOC voices take the stage, but also lamentable that their role in this story lives in the context of a history of oppression.
This show is recommended with everything in this musical theater lover’s heart. And if you cannot make it out to witness this theatrical masterpiece, sit at least with this poignant lyric from it: “If no one takes too much, there will always be enough.”
Ahmanson Theatre, 135 N Grand Ave, Los Angeles; Tues.-Fri., 8 pm, Sat., 2 pm, & 8 pm, Sun., 1 pm; thru May 29. https://www.centertheatregroup.org/tickets/ahmanson-theatre/2021/hadestown/ Running time: two hours and 30 minutes with one 20 minute intermission.
