Last Updated on 22nd September 2019
Anais Mitchell’s musical Hadestown is now playing at Broadway’s Walter Kerr Theatre. Hadestown tickets are now on sale.
Welcome to Hadestown, where a song can change your fate. This acclaimed new musical by celebrated singer-songwriter Anaïs Mitchell and innovative director Rachel Chavkin (Natasha, Pierre & The Great Comet of 1812) is a love story for today… and always.
Hadestown intertwines two mythic tales — that of young dreamers Orpheus and Eurydice, and that of King Hades and his wife Persephone — as it invites you on a hell-raising journey to the underworld and back. Mitchell’s beguiling melodies and Chavkin’s poetic imagination pit industry against nature, doubt against faith, and fear against love. Performed by a vibrant ensemble of actors, dancers and singers, Hadestown is a haunting and hopeful theatrical experience that grabs you and never lets go.
The cast of Hadestown Broadway includes Reeve Carney, Eva Noblezada, Amber Gray, Patrick Page, Andre De Shields, Jewelle Blackman, Kay Trinidad and Yvette Gonzalez-Nacer.
HADESTOWN – WHAT THE CRITICS SAID
The gods, or more likely Ms. Chavkin and her creative team, have saved “Hadestown” on its way uptown – via Edmonton and London – by turning it into something very much warmer, if not yet ideally warm. The story is clearer, the songs express that story more directly and the larger themes arise from it naturally rather than demanding immediate attention like overeager undergraduates.
Ben Brantley, New York Times.
Here’s my advice: Go to hell. And by hell, of course, I mean Hadestown, Anaïs Mitchell’s fizzy, moody, thrilling new Broadway musical. Ostensibly, at least, the show is a modern retelling of the ancient Greek myth of Orpheus and Eurydice: Boy meets girl, boy loses girl, boy goes to the land of the dead in hopes of retrieving girl, boy loses girl again. “It’s an old song,” sings our narrator, the messenger god Hermes (André De Shields, a master of arch razzle-dazzle). “And we’re gonna sing it again.” But it’s the newness of Mitchell’s musical account-and Rachel Chavkin’s gracefully dynamic staging-that bring this old story to quivering life.
Adam Feldman, Time Out.