Broadway’s ‘Hadestown’ Raises Hell And Musical Stakes For The Tony Season: Review

Broadway is doing some remarkable myth-making this season, or maybe myth-revising. Daniel Fish’s Oklahoma! is upending that great American folktale of the frontier. Aaron Sorkin’s adaptation of To Kill A Mockingbird is taking on the myth of its very own origins. And now Hadestown, the most thrilling new original musical of the season, is taking on the great grandfolk of all mythology, sending Orpheus and Eurydice straight to Hades via the irresistible rhythms of New Orleans jazz, sultry French Quarter gyrations and a cast no pantheon could have improved.

Written by the immensely talented singer-songwriter Anaïs Mitchell – the musical began life as folk opera concept album, then was developed at New York Theatre Workshop – Hadestown is brought to remarkable life by director Rachel Chavkin, who does for the Quarter and hell what she did for Tolstoy’s Russia with 2016’s equally fine Natasha, Pierre & the Great Comet of 1812.

“It’s a sad song,
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