Broadway promotional poster
|Basis||Orpheus and Eurydice|
2007 Vermont/Massachusetts Tour
2010 Concept album
|Awards||Tony Award for Best Musical|
Tony Award for Best Original Score
Grammy Award for Best Musical Theater Album
Hadestown is a musical with music, lyrics and book by Anaïs Mitchell. It tells a version of the ancient Greek myth of Orpheus and Eurydice, where Orpheus goes to the underworld to rescue his fiancée Eurydice.
The original version of the musical premiered in the town of Barre, Vermont in 2006. There was also a production in Vergennes in the same year and a tour between Vermont and Massachusetts in 2007. Then Mitchell, unsure about the future of the musical, turned it into a concept album, released in 2010.
In 2012, Mitchell met director Rachel Chavkin, and the two started to rework the stage production, with additional songs and dialogue. The new version of the musical, developed for the stage and directed by Chavkin, premiered Off-Broadway at New York Theatre Workshop on May 6, 2016 and ran through July 31. Following productions in Edmonton and London, the show premiered in previews on Broadway in March 2019.
The Broadway production opened to critical acclaim and received numerous awards and nominations. At the 73rd Tony Awards, Hadestown received a total of 14 nominations (the most for the evening) and won eight of them, including Best Musical and Best Original Score.
- Hermes, Greek god of boundaries, roads, travelers, commerce, thieves, athletes, shepherds, and Psychopomps, is the divine messenger. Throughout the musical, he plays the role of narrator. He is completely honest and smooth-spoken. Though he claims not to do things "because he is kind", he is shown to care for Orpheus by taking him in as his aide and shows kindness to Eurydice.
- Orpheus is a legendary musician, poet, lover of Eurydice, and prophet in ancient Greek religion. The main protagonist, he is a dreamer and always sees how things could be. He sees the best in people. He is awkward and clumsy but ultimately determined.
- Eurydice is the lover of Orpheus. She is more experienced in life than Orpheus. She has been alone her whole life and has learned to fight for herself, which has made her reluctant to trust people. The Fates follow her through most of the musical, planting seeds of doubt and encouraging her to leave and go to Hadestown.
- Persephone is goddess of Spring and wife of Hades. She is free spirited and fun loving. She is an alcoholic and is frequently shown to be drunk at many points of the musical. Though she still loves him, her relationship with Hades has broken down over the years and the pair constantly bicker. With her arrival to our world she brings spring, summer, and good times.
- Hades is god of the underworld and husband of Persephone. He is the primary antagonist. He is the ruler of Hadestown. He is cold and uncaring. However, he has become even more cold and hardened ever since his relationship with Persephone has become distant. He sees the workers of Hadestown as "his children", and believes that through totalitarian control of their lives he has set them free.
- The Fates are three spirits that act as the driving force of many key decisions other characters make in the show by influencing and manipulating their thoughts. Hermes, in the opening number, describes them as "three old women who dressed the same" and says that "they was always singin' in the back of your mind".
In a Great Depression-era inspired post-apocalyptic setting, the god Hermes enters to narrate the story and introduce each of the characters ("Road to Hell"). This is followed by the three Fates watching Eurydice as she wanders the dying land looking for shelter ("Any Way the Wind Blows"). Orpheus, Hermes's ward, meets Eurydice and asks her to marry him with some encouragement from Hermes ("Come Home With Me"). Eurydice is doubtful since they both live in poverty and she wants a life of stability. Orpheus, a musician, persuades her by telling her that he is writing a song that will bring the world back to its original harmonious state, and they will no longer have to struggle ("Wedding Song").
After an interlude in which Orpheus tells the story of the godly couple Hades and Persephone ("Epic I"), Persephone arrives to celebrate the brief joy of summertime brought alongside her ("Livin' it Up on Top"). Orpheus makes a toast to Persephone and expresses hope for his future with Eurydice, who reflects on her growing love for Orpheus despite her independence ("All I've Ever Known"). The two vow that their love will never change as long as they stay with each other.
Winter comes, and along with it a train to bring a reluctant Persephone back to Hadestown – Hades' underground factory. Orpheus and Eurydice watch as Persephone voices her misery at having to return to the factory, while the Fates appear to praise Hadestown's riches. Despite hearing about Hades' harsh treatment of his workers, Eurydice is intrigued ("Way Down Hadestown"). As an especially harsh winter progresses, Orpheus continues to write his song while Eurydice desperately searches for food and firewood for the both of them ("A Gathering Storm"/"Epic II"). At the same time, Hades and Persephone fight about the decline of their own relationship ("Chant").
Hades leaves the factory to find someone who will appreciate the safety and comfort of Hadestown. He comes across a starving Eurydice and offers her a chance to join him in a secure life far away from poverty ("Hey Little Songbird"). The Fates arrive and urge Eurydice to put her survival first by taking up Hades' offer ("When the Chips are Down"). With Orpheus away working on his song, Eurydice chooses survival and decides to follow Hades to the factory ("Gone, I'm Gone"). When Orpheus returns to look for Eurydice, Hermes tells him that she's gone to Hadestown; Orpheus pledges to retrieve her, and Hermes tells Orpheus how to get there without the use of Hades' train ("Wait For Me"). Eurydice arrives at Hadestown, and begins her work on the wall surrounding it ("Why We Build the Wall").
Following an entr'acte in which Persephone introduces herself and the band ("Our Lady Of The Underground"), we see Eurydice realize that in giving her life to Hadestown, all her memories will soon be lost in exchange for mindless work and she can never go back unless Hades says otherwise ("Way Down Hadestown (Reprise)"). She sings of her regrets as her memories of the aboveground slowly begin to fade ("Flowers").
Orpheus, having made his way to Hadestown following Hermes' directions, finds Eurydice and begs her to come home with him ("Come Home With Me (Reprise)"). Hades arrives and reveals to Orpheus that Eurydice went to Hadestown willingly and attempts to chase him off his property ("Papers"). This is immediately followed by the Fates telling an exhausted Orpheus to give up on saving Eurydice ("Nothing Changes"). Orpheus sings of his despair at losing Eurydice, inspiring the citizens of Hadestown to follow him and oppose the conditions in which they are made to work, all of which is witnessed by Persephone ("If It's True"). Touched by Orpheus' music, Persephone tells Hades to let Eurydice go ("How Long") which results in him bitterly offering Orpheus a chance to sing for him ("Chant (Reprise)"). Orpheus sings the complete version of the song he'd been writing all this time, reminding Hades of his love for Persephone ("Epic III"). Orpheus and Eurydice affirm their love for each other and this time, promise to stay with each other no matter what hardships they face ("Promises"). Hades is affected more by Orpheus' song than he had expected, and the Fates explain his dilemma: if he keeps Eurydice captive, she becomes a martyr, but if he lets her go, then he loses his authoritarian control over the factory, given that his workers have begun to agitate for their own freedom ("Word to the Wise"). He decides to leave their fate in Orpheus' hands: the couple can leave together, but Orpheus has to lead them out. If he turns to see if Eurydice is following him, she will belong to Hades forever ("His Kiss, the Riot").
Hermes explains Hades' decision to Orpheus and Eurydice. While Hades and Persephone promise to give their relationship another try the next time she returns to Hadestown, Orpheus begins the walk out of Hadestown with Eurydice following him ("Wait for Me (Reprise)"). Orpheus makes it right up until the very end of the journey, when he is overcome with doubt and turns to look for Eurydice – only to see that she's been right behind him all along, thus condemning her to stay in Hadestown forever ("Doubt Comes In").
Hermes, now somber, reflects on the story's ending; he does so via a reprise of the first song, and so begins to tell the story again. In explanation, he remarks that no matter how many times they sing it, people always hope for a happier ending—and that this is the value of continuing to sing the tale, and of Orpheus's gifts: "[to] make you see how the world could be/in spite of the way that it is.” ("Road to Hell (Reprise)"). The show closes with Persephone and Eurydice raising a toast to Orpheus after the curtain call, reiterating the theme of hope despite unhappy circumstances: "Some birds sing when the sun is bright/Our praise is not for them/But the ones who sing in the dead of night/We raise our cups to them" ("We Raise our Cups").
New York Theatre Workshop, New York
All songs are adapted from Mitchell's album, aside from "Any Way the Wind Blows" from her album Xoa, except where noted.
† Not included on Original Cast Recording ‡ Original material
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Hadestown was performed as a stage production in the cities of Barre and Vergennes in 2006, before going into a seven-day, ten-city tour between Anaïs Mitchell's home state of Vermont and Massachusetts in 2007. Mitchell described the first incarnation of the show as "a D.I.Y. theatre project." The creative team included primary orchestrator/arranger Michael Chorney and original director/designer Ben T. Matchstick, as well as a cast drawn from local artists in Vermont. In 2010, a concept album was released.
In her search for a director, Mitchell sought out Rachel Chavkin in 2012 after watching a production of Natasha, Pierre & the Great Comet of 1812 directed by Chavkin. In the transition from concept album to stage musical, Mitchell wrote an additional 15 songs and added dialogue to clarify the story line and deepen characterization. The 15 new songs were developed after Mitchell and Chavkin discussed gaps in the album's story line. Michael Chorney created the primary orchestrations and arrangements, with Todd Sickafoose contributing additional/co-arrangements and orchestrations. Hadestown premiered at New York Theatre Workshop for an initial run from May 3 through July 3, 2016, but was later extended due to popular demand through July 31. The production starred Damon Daunno as Orpheus, Nabiyah Be as Eurydice, Amber Gray as Persephone, Patrick Page as Hades, Chris Sullivan as Hermes, and Lulu Fall, Jessie Shelton, and Shaina Taub as the Fates.
Hadestown was presented in an intended pre-Broadway run as part of the 2017–18 season at Citadel Theatre in Edmonton, Alberta, Canada. Rachel Chavkin once again served as director, with performances scheduled for November 11 - December 3, 2017, with Amber Gray and Patrick Page reprising their roles from NYTW. The production was presented in collaboration with Mara Isaacs and Dale Franzen, who produced the Off-Broadway run. The NYTW production was also featured in the award-winning documentary series Working in the Theatre produced by the American Theatre Wing.
Ahead of a 2019 Broadway transfer, Hadestown was performed in the Olivier Theatre of the National Theatre in London. Making its UK debut, it ran from November 2, 2018 to January 26, 2019. The production team included Rachel Hauck for scenic design, Michael Krass for costume design, Bradley King for lighting design, Nevin Steinberg and Jessica Paz for sound design, David Neumann for choreography, and Liam Robinson for musical direction. Patrick Page, Amber Gray, and Reeve Carney reprised their performances in the National Theatre production, joined by Eva Noblezada, André De Shields (who had participated in some early workshops of the production), Carly Mercedes Dyer, Rosie Fletcher, and Gloria Onitiri.
Hadestown opened on Broadway at the Walter Kerr Theatre, with previews beginning on March 22, 2019 and opening night set for April 17, 2019. Page, Gray, De Shields, Carney, and Noblezada reprise their performances for the Broadway production, and are joined by Jewelle Blackman, Yvette Gonzales-Nacer, and Kay Trinidad. The production team also reunites Hauck for scenic design, Krass for costume design, King for lighting design, Steinberg and Jessica Paz for sound design, Neumann for choreography, and Robinson for musical direction. As of March 12, 2020, the show suspended production due to the COVID-19 pandemic. The show's production will be suspended until January 3, 2021 at the earliest. 
|Pre-Broadway Cast||Original West End
|Original Broadway Cast|
|Orpheus||Ben Campbell||Justin Vernon||Damon Daunno||Reeve Carney|
|Eurydice||Anaïs Mitchell||Nabiyah Be||T.V. Carpio||Eva Noblezada|
|Hades||David Symons||Greg Brown||Patrick Page|
|Persephone||Miriam Bernardo||Ani DiFranco||Amber Gray|
|Hermes||Ben T. Matchstick||Ben Knox Miller||Chris Sullivan||Kingsley Leggs||André De Shields|
|The Fates||Sarah-Dawn Albani
|The Haden Triplets||Lulu Fall
|Carly Mercedes Dyer
|Jewelle Blackman |
A live cast recording of the Off-Broadway production was released digitally and on CD on October 6, 2017 through Parlophone Records. A four-track EP entitled Why We Build The Wall (Selections from Hadestown. The Myth. The Musical. Live Original Cast Recording) was released for digital retailers on October 13, 2016 in promotion of the album.
Hadestown received generally positive critical reviews. The New York Times described the Off-Broadway production as "inventive" and "gorgeously sung," praising its simplicity and intimacy. The Hollywood Reporter described the added dialogue as "wince-inducing" but favored its high energy and immersive staging. Several reviews drew parallels between the song "Why We Build the Wall" and Donald Trump's 2016 presidential campaign, though the song predates the campaign.
The production opened on Broadway on April 17, 2019 to largely positive critical reception, with praise especially directed at its direction and performances, particularly those of Amber Gray, André De Shields, and Patrick Page. The New York Times called it "gorgeous" and "hypnotic", especially noting its improvement from the New York Theater Workshop version. David Rooney of The Hollywood Reporter calls it "utterly fabulous", in particular praising the performances of Gray and Page.
Awards and nominations
|American Academy of Arts and Letters||Richard Rodgers Award for Musical Theater||Won|
|Drama Desk Awards||Outstanding Musical||Nominated|
|Outstanding Lighting Design for a Musical||Bradley King||Nominated|
|Drama League Awards||Outstanding Production of a Broadway or Off-Broadway Musical||Nominated|
|Lucille Lortel Awards||Outstanding Musical||Nominated|
|Outstanding Choreographer||David Neumann||Nominated|
|Outstanding Lead Actor in a Musical||Patrick Page||Nominated|
|Outstanding Lead Actress in a Musical||Amber Gray||Nominated|
|Outstanding Featured Actor in a Musical||Chris Sullivan||Nominated|
|Outstanding Scenic Design||Rachel Hauck||Nominated|
|Outstanding Sound Design||Robert Kaplowitz||Nominated|
|Outer Critics Circle Awards||Outstanding New Off-Broadway Musical||Nominated|
|Off-Broadway Alliance Awards||Best New Musical||Nominated|
|Elizabeth Sterling Haynes Award||Timothy Ryan Award for Outstanding Production of a Musical||Nominated|
|Outstanding Director||Rachel Chavkin||Nominated|
|Outstanding Performance by an Actress in a Supporting Role||Amber Gray||Won|
|Outstanding Set Design||Rachel Hauck||Nominated|
|Outstanding Costume Design||Michael Krass||Nominated|
|Outstanding Lighting Design||Bradley King||Won|
|Outstanding Musical Director||Liam Robinson||Nominated|
|Outstanding Choreography or Fight Direction||David Neumann||Nominated|
|Tony Awards||Best Musical||Won|
|Best Book of a Musical||Anaïs Mitchell||Nominated|
|Best Original Score||Won|
|Best Performance by an Actress in a Leading Role in a Musical||Eva Noblezada||Nominated|
|Best Performance by an Actor in a Featured Role in a Musical||André De Shields||Won|
|Best Performance by an Actress in a Featured Role in a Musical||Amber Gray||Nominated|
|Best Scenic Design in a Musical||Rachel Hauck||Won|
|Best Costume Design in a Musical||Michael Krass||Nominated|
|Best Lighting Design in a Musical||Bradley King||Won|
|Best Sound Design of a Musical||Nevin Steinberg and Jessica Paz||Won|
|Best Direction of a Musical||Rachel Chavkin||Won|
|Best Choreography||David Neumann||Nominated|
|Best Orchestrations||Michael Chorney and Todd Sickafoose||Won|
|Drama Desk Awards||Outstanding Featured Actor in a Musical||André De Shields||Won|
|Outstanding Director of a Musical||Rachel Chavkin||Won|
|Outstanding Choreography||David Neumann||Nominated|
|Outstanding Scenic Design for a Musical||Rachel Hauck||Nominated|
|Outstanding Costume Design for a Musical||Michael Krass||Nominated|
|Outstanding Lighting Design for a Musical||Bradley King||Won|
|Outstanding Sound Design in a Musical||Nevin Steinberg and Jessica Paz||Won|
|Drama League Awards||Outstanding Production of a Broadway or Off-Broadway Musical||Won|
|Distinguished Performance Award||Amber Gray||Nominated|
|André De Shields||Nominated|
|Outer Critics Circle Awards||Outstanding New Broadway Musical||Won|
|Outstanding Book of a Musical (Broadway or Off-Broadway)||Anaïs Mitchell||Nominated|
|Outstanding New Score (Broadway or Off-Broadway)||Won|
|Outstanding Actor in a Musical||Reeve Carney||Nominated|
|Outstanding Featured Actor in a Musical||André De Shields||Won|
|Outstanding Featured Actress in a Musical||Amber Gray||Won|
|Outstanding Director of a Musical||Rachel Chavkin||Won|
|Outstanding Choreographer||David Neumann||Nominated|
|Outstanding Scenic Design (Play or Musical)||Rachel Hauck||Nominated|
|Outstanding Lighting Design (Play or Musical)||Bradley King||Won|
|Outstanding Sound Design (Play or Musical)||Nevin Steinberg and Jessica Paz||Nominated|
|Outstanding Orchestrations||Michael Chorney and Todd Sickafoose||Nominated|
|Broadway.com Audience Awards||Favorite New Musical||Nominated|
|Favorite Leading Actor in a Musical||Reeve Carney||Nominated|
|Favorite Leading Actress in a Musical||Eva Noblezada||Won|
|Favorite Featured Actor in a Musical||Andre de Shields||Nominated|
|Favorite Featured Actress in a Musical||Amber Gray||Nominated|
|Favorite Diva Performance||Amber Gray||Nominated|
|Favorite Onstage Pair||Reeve Carney and Eva Noblezada||Nominated|
|Favorite New Song||"Wait for Me"||Won|
|Chita Rivera Awards|
|Outstanding Choreography in a Broadway Show||David Neumann||Won|
|Outstanding Female Dancer in a Broadway Show||Amber Gray||Nominated|
|Outstanding Ensemble in a Broadway Show||Nominated|
|ACCA Award||Outstanding Broadway Chorus||Won|
|Grammy Award||Best Musical Theater Album||Reeve Carney, André De Shields, Amber Gray, Eva Noblezada & Patrick Page (principal soloists); Mara Isaacs, David Lai, Anaïs Mitchell & Todd Sickafoose (producers); Anaïs Mitchell (composer & lyricist)||Won|
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