Reeve Carney and ensemble in 'Hadestown' on Broadway. (Photo: Matthew Murphy)
In the back of a London taxicab in the fall of 2018, composer Anaïs Mitchell pulled out her cellphone to show director Rachel Chavkin a picture. On the tiny, illuminated screen, Chavkin saw a roughly Photoshopped image of the Walter Kerr Broadway marquee with a red flower in the center. The graphic, featuring the floral logo of “Hadestown,” was a way for Mitchell to will the show to the theater of her dreams, marking the final step in the piece’s 13-year journey to Broadway. To get there, Mitchell, Chavkin and their team had to reshape the musical from a theatrical…

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