The road to hell is paved with heavenly music in “Hadestown,” the exuberant, exhilarating new musical that stands tall among a season of mostly (so far) lackluster Broadway competition. A retelling of the myth of Orpheus and Eurydice, the show features a book and score by the singer-songwriter Anaïs Mitchell that ranks among the most adventurous and accomplished to be heard on Broadway in recent years. And the production, developed and directed by Rachel Chavkin, superbly showcases both Mitchell’s work and a superlative cast, accompanied by an orchestra — perhaps more aptly called a band — so seamlessly integrated into the production that the evening is at once a vibrant theatrical reimagining of the classical doomed-love story and a rollicking pop-rock concert that keeps scaling new musical heights.
Review: An exhilarating ‘Hadestown’ revitalizes a classic love story
The road to hell is paved with heavenly music in “Hadestown,” the exuberant, exhilarating new musical that stands tall among a season of mostly (so far) lackluster Broadway competition.
Review — Hadestown — BN+ — Rachel Hauck — National Theatre — Rachel Chavkin — Natasha Pierre & the Great Comet of 1812 — New York Theatre Workshop — Michael Krass — Bradley King — Patrick Page — Eva Noblezada — Reeve Carney — André De Shields — Jewelle Blackman — Yvette Gonzalez-Nacer — Kay Trinidad — Persephone — Hades — Orpheus — Eurydice — Dave Malloy — Trump — Hermes
