Prepare your coins for passage to the Underworld.The song played at the beginning of “Hadestown,” the touring, Tony Award-winning musical now at Playhouse Square, serves as both an introduction and a disclaimer. It familiarizes us with the band, chorus and characters before warning that the story we’re about to hear is an old, sad tale — a tragedy, really. Yet, forewarned, the company is determined to tell us their tale anyway. Not only that, but they plan to tell the story again and again, as if the ending could one day change.
“Hadestown” does indeed tell a sad tale — an altogether heart-wrenching tragedy — but it’s a production worth witnessing again and again.
The show, with music, lyrics and book by Anaïs Mitchell, premiered on Broadway in 2019. Directed by Rachel Chavkin, it was nominated for 14 Tony Awards, walking away with eight wins, including Best Musical and Best Original Score. It tells the myths of Orpheus and Eurydice and the gods Hades and Persephone. Long ago, Hades, King of the Underworld, fell in love with Persephone, goddess of spring and vegetation. For six months out of the year, Persephone joins Hades in the Underworld as his queen while the world above experiences winter and scarcity. Her return from the Underworld brings about warmth and abundance. As her trips above grow shorter and shorter thanks to a Hades who longs to keep her by his side, the humans experience increasingly difficult winters and resulting famine.
The situation is especially dire for lovers Eurydice, a tough lone wolf, and Orpheus, the son of a Muse. Orpheus has been working on a song that will bring back fruitful seasons, but in his obsession with finishing his music, he leaves Eurydice to face the cold and hunger alone. Driven by desperation, Eurydice makes a deal with Hades and journeys to the Underworld. When Orpheus learns of his love’s fate, he defies the odds and marches into the Underworld to save her.
There is something achingly beautiful about witnessing in the 21st century the telling of a story that has held humans for thousands of years. Liberties are taken with this version of Orpheus and Eurydice’s myth (but what myths aren’t warped by time?) in order to provide commentary on poverty, climate change and control. So while the show draws inspiration from established Greek mythology, the telling is unique, bold and utterly captivating.
Music director Arman Wali Mohammad leads a lively on-stage band through songs that draw inspiration from jazz, blues and folk music. They feel perfectly at home on stage, as most of the action unfolds in a speakeasy jazz club with New Orleans aesthetics. Designed by David L. Arsenault, the set works in muddy colors and a moody, Depression-era atmosphere that reflects the show’s depiction of famine and poverty. While in the Underworld, harsh lighting grids from designer Aja M. Jackson help depict Hades’ industrial factory, where souls who were promised freedom devolve into mindless laborers. This speaks to the way that capitalism promises prosperity but instead devastates the common man when control, fear and greed fuel the foreman.
“Hadestown” is highly regarded for its swelling music and stunning visuals. As for the latter, a turntable and swinging, industrial pendulum lights became beloved symbols of the show. Unfortunately for us, this production no longer uses the turntable in T. Oliver Reid’s mesmerizing choreography, and the touring design has been pared back, presumably to more easily transfer and host the show in a larger variety of theaters. New audiences will still find the visuals impressive, but those who have witnessed the Broadway production, or who saw the tour when it stopped in Cleveland in 2023, might miss the larger production elements, especially in how the penultimate scene is staged.
The music, however, is as impressive and transporting as ever thanks to a stellar cast.
Acting as a guide to the audience, Hermes, Greek god of travel, communication and thieves, is played with true star power by Rudy Foster. With a pop of blue eyeshadow, Foster is a charismatic, captivating emcee who delights, but it is his earnest sorrow over the story’s ending that is most keenly felt.
Hawa Kamara plays a strong, lonely and leery Eurydice. Kamara has an almost breathy, soft quality to her voice that gives the character a healthy dose of vulnerability and youthfulness. Even so, she can still belt with the best of them. In the role of love-struck and obsessive Orpheus is Jose Contreras, who has an enchanting chemistry with Kamara. Contreras hits all of Orpheus’ high, angelic vocals, while also aptly portraying the character’s distress and devotion.
Nickolaus Colón portrays Hades with a large presence and a deep, silky bass. Dressed in pinstripes by Michael Krass, Colón towers over the other players, giving him an authority that matches his booming vocals. The small-statured Namisa Mdlalose Bizana makes a sharp contrast as Persephone. Mdlalose Bizana is a powerhouse vocalist and talented actress; her tipsy number after intermission is entirely convincing.
Helping shape the story are the Fates, played by Gia Keddy, Miriam Navarrete and Jayna Wescoatt. As the goddesses who control destiny and life, these three harmonize beautifully as they prowl about the stage, synchronized and menacing as they influence the characters. I would be remiss not to mention the Worker chorus made up of Travis Darghali, Lilli Doll, Mya Lynae, Ben Raanan and Ty Shay, all of whom provide crucial vocals and visuals.
“It’s an old song / It’s an old tale from way back when / It’s an old song / But we’re gonna sing it again.” So croons Hermes in that opening number. As far as I’m concerned, as long as “Hadestown” continues to sing its tragic tale with such beauty and emotion, I’ll continue to sing its praises — again and again.
“Hadestown” runs through Nov. 8 at Playhouse Square, 1501 Euclid Ave., Cleveland. Visit playhousesquare.org or call 216-241-6000 for tickets, $36.30 to $150.