We know you’ve missed her! Geek Gal Caroline Cao shares her Broadway review of Hadestown!
You might know the old Greek tragedy of Orpheus and Eurydice where a musician travels south to charm the King of the Underworld and retrieve his dead lover. However, as part of the bargain, one look back will doom her back to her unearthly prison.
With story, music and lyrics by Anais Mitchell, Hadestown on Broadway follows the original myth with vamped-up modernity in a rustic landscape of mortals and gods and an excitingly diverse cast. A young hardened girl Eurydice (a youthful and ferocious Eva Noblezada) meets the dreamer Orpheus (a tender-voiced Reeve Carney). But hard times fall hard when Goddess of Spring Persephone (Amber Gray) departs to rejoin her oily and cold husband Hades (Patrick Page) in the Underworld.
Eva and Reeve express dimensions to an otherwise commonplace romance. EurydiceΓÇÖs love for Orpheus is sincere but has a take-what-you-can-get shade for a girl who is curious yet frightened by emotional intimacy. Patrick sells his baritone siren song that lures Eurydice away from the hardships of the Earth to the (false) promises of security in his mines and mills, an Underworld of his capitalist hellscape.
Amber is transfixing as she was in The Comet of 1812, a Persephone that drinks like Dionysus, holding contempt for a fallen world as she does a passion to seize every moment. As the master of ceremonies and the God Hermes, Andr├⌐ De Shields brings down the house.
Hadestown strikes an uncanny balance between up-tempo hopeful and melancholy. The ending is mournful, as we all know the outcome in popular culture, but that doesnΓÇÖt mean we regret spending time on earth and hell with the players of this tale.
Directed by Rachel Chavkin, Hadestown, now playing at the Walter Kerr Theatre (219 W 48th St, New York, N.Y.).
photo credit: DKC/O&M