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Crash Course Theatre

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Thespis, Athens, and The Origins of Greek Drama: Crash Course Theater #2

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Synopsis with links to songs

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Slime tutorial (with broadway recording)

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Slime tutorial (with broadway recording)

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Hadestown With Subtitles and Broadway Cast Recording

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Por que a terra deve morrer: slime tutorial (legendado), parte 1

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After exploring the topics on this sheet AND the other categories on the Padlet, write a proposal for at least 2 research options on the back.

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1. Explore the links and categories on this Padlet as well as the topics in the overview video.

2. On the back of your brainstorm sheet, propose 2 options for your own research. The object will be to do a deeper dive into a CONNECTION to Hadestown.

3. Examples might be-

A: Technical | Aesthetic | Design aspects of Hadestown

B: Cultural/ Social Significance

C: Art/ Entertainment Value

4. or you may suggest a topic of your own.

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The tragic myth of Orpheus and Eurydice - Brendan Pelsue

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In a Broadway season nearly devoid of female directors, the sole woman at the helm of a musical this year - Rachel Chavkin, director of "Hadestown" - took home the Tony Award for best direction of a musical.

Ms. Chavkin, who was previously nominated in the category for "Natasha, Pierre & The Great Comet of 1812" in 2017, emphasized diversity in the industry in her acceptance speech Sunday night.

"There are so many women who are ready to go. There are so many artists of color who are ready to go. And we need to see that racial diversity and gender diversity reflected in our critical establishment, too," Ms. Chavkin said in her speech. "This is not a pipeline issue. It is a failure of imagination by a field whose job is to imagine the way the world could be."

My folks raised me with the understanding that life is a team sport. And so is walking out of hell. That's what is at the heart of show: It's about whether you can keep faith when you are made to feel alone. And it reminds us that that is how power structures try to maintain control: by making you feel like you're walking alone in the darkness, even when your partner is right there at your back. And this is why I wish I wasn't the only woman directing a musical on Broadway this season. There are so many women who are ready to go. There are so many artists of color who are ready to go. And we need to see that racial diversity and gender diversity reflected in our critical establishment too. This is not a pipeline issue. It is a failure of imagination by a field whose job is to imagine the way the world could be. So let's do it. Thank you, thank you!

" Hadestown," a folksy reimagining of an ancient Greek myth, led the pack this season with 14 Tony nominations. Before Ms. Chavkin's win, the show had won in five other categories, including awards for scenic design, sound design, lighting design and orchestrations.

"Our field is filled with progressive people, and yet our field is not exemplary in terms of living its politics - first and foremost, who is telling the stories and what stories are they telling," Ms. Chavkin said after her speech.

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'Hadestown' Director Rachel Chavkin: Diversity 'Is Not a Pipeline Issue'

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In a Broadway season nearly devoid of female directors, the sole woman at the helm of a musical this year - Rachel Chavkin, director of "Hadestown" - took home the Tony Award for best direction of a musical.

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, the new musicalthat opened on Broadway April 17, has had one of the most public evolutions of any musical I know of. It started as a song cycle touring around Vermont in 2006, and from there became a star-studded concept album with a cult following. Then it was an off-Broadway show. Then it hit Canada. Then London. Every step of the way, it's been under public scrutiny.

But what's most amazing about it is that every time it's evolved, Hadestown has only gotten better.

When I first fell in love with the show as a concept album in 2010, I knew Anaïs Mitchell's folk-inflected score was beautiful, and the premise - the myth of Orpheus and Eurydice reimagined as an anti-capitalist parable - was compelling.

But I wasn't sure it would work as a theatrical show. The central metaphor of capitalism as death was so abstract, and the mythic characters so much better as archetypes than as psychologically distinct human beings, that I worried literalizing the whole thing by putting it onstage would break everything to pieces.

In the Broadwayproduction of Hadestown, sumptuously directed by Rachel Chavkin of Natasha, Pierre, & the Great Comet of 1812 fame, the metaphor is a little bit incoherent. The narrative is a little bit shaggy, and some of the characters are a little bit flat. But Hadestown in its final form, revised and workshopped and thoroughly thought through, rises above the sum of its parts.

It creeps under your skin and stays there so ably that in the theater, you can actually see the cult following developin real time. When the house lights came up for intermission at the performance I saw, three unconnected people who were not sitting together said "holy crap" in unison. The man in front of me told me that he had seen the show five times already; counting previews, Hadestown had been on Broadway for about three weeks and officially open for just five days. Then the lights came back down, and the audience all turned back to the stage, waiting for the climax where we would all gasp as one at the same moment - because this show is, in the most literal sense of the word, breathtaking.

Hadestown handles mythic cycles of death and rebirth with as much aplomb as it does contemporary questions about making art in a capitalist world

In classical mythology, Orpheus is the greatest bard in the world and Eurydice his beloved bride. When Eurydice is killed by a snake bite, the mourning Orpheus travels to the underworld to beg Hades, god of the dead, to return his wife to life. To make his case, Orpheus sings a song so beautiful that Hades's wife Persephone, the personification of spring, begs her husband to let Eurydice go.

In Mitchell's Hadestown, the outlines of the myth are the same - but here, Hadestown isn't just the underworld. It's alsoa factory town, and Hades is both the grim god of death and a malevolent overseer, forcing his tenants to labor unceasingly at building an endless wall around his city. (Lest you think that part is too on the nose for 2019, Hades's call and response song " Why We Build the Wall" has been part of the show for more than 10 years. Mitchell says any resemblance to Trumpian rhetoric is " purely archetypal.")

And here, Eurydice isn't bitten by a snake. Instead, she's lured into Hadestown by the promise of work and food, after the impractical artist Orpheus spends the winter crafting a song and not bringing any money home. "It's my gut I can't ignore," Eurydice sings plaintively. "Orpheus, I'm hungry."

This balancing act is the trickiest part of bringing Hadestown to the stage. On an album, Eurydice can simultaneously die and get a factory job, and the listening audience doesn't have to choose between one side of the metaphor or the other, because we don't have to watch her do it. We just understand that she's doing both and let the story keep going. Onstage, though, everything by necessity has to get just a little bit more literal.

That's where Rachel Chavkin's direction comes in. Chavkin has created a theatrical world in which both levels of Mitchell's metaphor can breathe at once. When Eurydice holds up over her eyes the two silver coins that are her ticket to the underworld, she is recognizably dying. But she's also getting on the train to a factory town, and she's doing each at once, right in front of our eyes.

In that endeavor, Chavkin is helped enormously by her able crew. Rachel Hauck's scenic design loosely suggests a New Orleans bar for the part of the show that takes place above ground, but her whirling pendulum-swinging lamps and spinning turntables can just as easily create a sense of overwhelming oppression and claustrophobia, like being stuck in a factory or a mine - or in hell. And Michael Krass's costumes are dancing right on the edge you didn't know existed between New Orleans jazz chic and the latest in Hellenistic trends. Take a look at the smoke-gray dresses on the three Fates: depending on how you squint, they're either church lady outfits or they're gowns that wouldn't look out of place on a Greek vase.

It helps, too, that Mitchell has revised her material heavily as she took it from studio to stage. Over the past nine years, her lyrics have gotten less hazily lyrical and pretty, and more character-driven and concrete. While there's a bit of a tradeoff being made there (I'll admit to sighing over the loss of this lovely image from Hades and Persephone's first meeting: "The smell of the flowers she held in her hand, / The pollen that fell from her fingertips, / And suddenly Hades was only a man, / With the taste of nectar on his lips"), that revision means that the story now feels more organic to the characters. These people aren't making their choices just because they're archetypal figures in ancient myths and this is what they've always done, but because those choices make sense. Suddenly they feel fresh and urgent.

Mitchell has also given substantially more emphasis in this version of the show to the B-plot of Hades and Persephone and their tortured marriage, and in this choice, she is most likely driven by the fact that Patrick Page and Amber Gray - who have been part of the show since its 2016 production at the New York Theatre Workshop - are easily the standouts of the cast. As Hades, Page stalks across the stage like a tiger, pitching his velvety bass so low that his voice seems to rumble up from the center of the Earth. And as the smoky-voiced Persephone, hiding deep wells of melancholy under a desperate and drunken smile, Gray doesn't so much run away with the show as dances off with it, with her torso at a 90-degree angle to her legs.

Page and Gray are ably backed up by the legendary André De Shields, who plays Hermes, the messenger god and the show's narrator, with ice-cold swagger. As our central lovers, Eva Noblezada (Eurydice) and Reeve Carney (Orpheus) have a tougher row to hoe: Orpheus and Eurydice carry the weight of the metaphor, and as such, they continue to feel a little bit more like flattened-out archetypes than fully fledged characters. Still, Noblezada gives Eurydice a winsome survivor's pluck, and Carney manages to find a sweet awkwardness in Orpheus that makes that character feel more likable and compelling than he has been in previous versions of this show.

And when all of them come together in the climax of the show, the moment that made everyone gasp in unison wasn't because of some brand new plot twist, an innovation to the myth. It was because of the moment that is at the center of the myth of Orpheus and Eurydice, the moment on their walkout of the underworld that you always knew was coming - somehow now made both inevitable and shocking.

"It's an old song," Hermes tells us as the show opens. "It's a sad song. But we sing it anyway."

Hadestown has now been sung over and over again since 2006. It's been sung in concert halls across Vermont. It's been sung in studio for the concept album. It's been sung off-Broadway, in Canada, and in London. But Mitchell and Chavkin keep singing it anyway.

And every time they do, it keeps getting better.

Hadestown is now playing on Broadway.

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The new Broadway musical Hadestown has all the makings of a cult hit

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the new musicalthat opened on Broadway April 17, has had one of the most public evolutions of any musical I know of. It started as a song cycle touring around Vermont in 2006, and from there became a star-studded concept album with a cult following. Then it was an off-Broadway show.

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According to ancient Greek myth, Hades, ruler of the underworld, kidnaps the goddess Persephone, who represents nature and renewal, which brings about the first winter on Earth. For composer and writer Anaïs Mitchell, that sudden change in climate was the perfect backdrop for her new hit Broadway musical "Hadestown."

"The image of the climate being out of whack has been a core one for Anaïs since she started writing the show," says Rachel Chavkin, the production's director. "As we thought more and more about shaping the world that Eurydice and Orpheus are living in - a world caused, in Greek mythological terms, by the decay of the ancient marriage between Hades and Persephone, a world that is out of balance, where it is either freezing or blazing hot, where food becomes scarcer and the idea of stability becomes harder to imagine, and a character, Eurydice, who has spent her life running - all of those things kind of crystallized while we were making the show."

A song called "Any Way the Wind Blows" sets up some of the story's themes and characters. Near the beginning of the song, The Fates sing:

Weather ain't the way it was before
Ain't no spring or fall at all anymore
It's either blazing hot or freezing cold
Any way the wind blows
And there ain't a thing that you can do
When the weather takes a turn on you
'Cept for hurry up and hit the road
Any way the wind blows...

When your body aches to lay it down
When you're hungry and there ain't enough to go round
Ain't no length to which a girl won't go
Any way the wind blows

Anaïs was "profoundly impacted" by major climate events while she and Chavkin were shaping the show. "California seemed to be totally aflame, while in the East, you had these tremendous floods, which now we're seeing in the Midwest. All of that news impacted the lyrics and imagery of the show," Chavkin says.

In a way, Eurydice is a kind of environmental refugee: She leaves her cold, unpredictable home for a place she believes will be safe and warm.

Even though Eurydice is deeply in love with Orpheus, Hades and The Fates persuade her that she has a better chance of survival in Hadestown. In a way, Eurydice is a kind of environmental refugee: She leaves her cold, unpredictable home for a place she believes will be safe and warm.

"She's choosing between the love of her life and the ability to have food and know that she has a place to sleep and a bed to lie down in and a job to go to," Chavkin says. "So, that the environment is part of what she's running from is exactly right."

After a time, Eurydice realizes that Hadestown is "basically this proto-fascist state."

After a time, Eurydice realizes that Hadestown is "basically this proto-fascist state," Chavkin says - an underground factory that may, in fact, be the source of the problems above ground. There is even a wall being built - a wall that will never be completed.

"The metaphors of industry and there being this terrible imbalance between how an industry consumes the natural world and what the natural world is able to sustain and give on its own, are all through the piece," Chavkin says. The marriage of Hades and Persephone - a marriage between industry and nature - represents this idea.

"As we understand it, Hades was always a builder, but at a certain point, when he began to be afraid that Persephone wouldn't come back to him, and he began to be jealous of her time away - the mythological six months that she had above ground - he began to over-produce and consume," Chavkin explains. "There's this image of his jealousy almost spreading like an oil slick across the land, and Hadestown is the product of that."

Hadestown is about many things, Chavkin says, but for her, the image she hopes will stay with people when they leave the theater occurs at the end of the musical.

"There's this image of, yes, it's a sad song. It's an old song. But we sing this song, we sing the story of Orpheus and Eurydice anyway, because there is hope in the simple act of retelling the tale," Chavkin says. "There is hope in the community that gets gathered to hear the tale and that, essentially, with each generation, the needle moves a little bit, whether we see change in our lifetime or not."
This article is based on an interview that aired on PRI's Living on Earth with Steve Curwood.

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In 'Hadestown,' Greek mythology and climate change come to Broadway

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According to ancient Greek myth, Hades, ruler of the underworld, kidnaps the goddess Persephone, who represents nature and renewal, which brings about the first winter on Earth. For composer and writer Anaïs Mitchell, that sudden change in climate was the perfect backdrop for her new hit Broadway musical "Hadestown."

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It's not hard to catch on to the fact that Hadestown is an analogy for 21st-century social concerns. At least two of the elements are fairly easy to decipher: one is that "mean old boss" Hades represents a capitalist system that forces people to be overworked and underpaid for the sake of feeling secure, and at the expense of their freedom; the second is that climate change - for which Hades is responsible - is causing hunger, displacement, catastrophes, and instability.

Because these concerns are so current, it's only natural that we, as an audience, pray that Orpheus's motion for a revolution is successful. I mean, if he can do it, so can we, right? So, even though we know how the original myth ends, and even though we are warned from the beginning that what we are about to witness is "a sad tale" and a "tragedy", it is still harrowing to get to the end of "Doubt Comes In" and see that it fails.

However, as hopeless as it feels every time, there might be something hopeful to take away from it, if only we shift our focus from the fact that the revolution fails, and instead try to answer the question: why does the revolution fail?

First, it is important to understand that music, love, and the revolution, besides being central themes in the musical, are inseparable for Orpheus. The revolution is the endgame, music is how he plans to achieve it, and he often conflates the effects of his music with the effects of his relationship with Eurydice ("A song so beautiful/ It brings the world back into tune/.../ And all the flowers will bloom/ When you become my wife"). But we'll get back to this.

Then, if this show is an analogy, we need to go through with deciphering what each element stands for. Hades is the oppressive boss, Orpheus represents the resistance, and Eurydice is a climate refugee who decides to go to the underworld, persuaded by the illusion that she will have a chance at a better life there.

Persephone is the toughest one to break down, not necessarily because the metaphor is more subtle, but because she is a well-liked character, as is the thing she stands for, but she is, in part, responsible for the revolution failing.

From the very beginning, we know that this story is set in "hard times". Eurydice reinforces that idea when she sings about her hardships in "Anyway The Wind Blows". But when Persephone appears with spring and wine, she asks, "who says times are hard?", and comments "some may say the weather ain't the way it used to be", as if it were up for debate. But she provides temporary solutions for everyone's immediate needs, and, more important than that, she is a mighty good time. So, even though everybody knows she will leave soon and they will go back to living in misery, they willfully forget that fact for a moment and adhere to her philosophy that "when you're down you're down, and when you're up you're up".

Back in the underworld, Persephone runs an illegal business in which she sells the workers little pleasures from up above. She says that "what the boss don't know, the boss won't mind", but it's very possible that if Hades did know, he would turn a blind eye because what Persephone does is precisely what is needed to keep those workers under control: give them just enough to numb their suffering, but not so much that they become aware of their oppression.

It is naïve to believe that Persephone would truly be in favor of the revolution because her business would die with it. So, even though she is moved by Orpheus's music, when she tries to persuade Hades to let him and Eurydice leave, she is only advocating for the two of them. In fact, she downplays Orpheus's intentions to lead a movement, claiming that "it is only for love that he sings", when, as we've seen, the revolution cannot be separated from the love and the singing. Put simply, Persephone's support of the revolution is akin to a Zara t-shirt that reads "GRL PWR", or a woke Disney movie, or a black square on an Instagram feed.

But Persephone is not the only obstacle to the revolution. The other one is Orpheus himself, and not because he made one fatal mistake towards the end of the story. He was, by default, an unfit leader.

Although he is described as a "poor boy", he is also "touched by the gods", cared for by Hermes, and his gift for music is basically a superpower that grants him advantages that otherwise he wouldn't have. In other words, Orpheus is privileged in ways that other poor people, like Eurydice, aren't.

It then follows that he should be oblivious to her repeatedly calling him, begging for shelter and food: in his search for a long term solution, he ignores her, and others' immediate needs. He is unable to empathize enough with that urgency, because it is not his reality. Similarly, he is not the best choice to lead the underworld workers to freedom when he himself has spent very little time in Hadestown, and has never personally worked there or experienced any of the hardships that come with being an underworld employee. Eurydice, or any other worker, would have been a more fit leader than him.

Finally, the revolution fails due to a belief that history, narratives, and movements are made by individual heroes. Hades understands this quite well, which is why he hinders any feeling of comradery among his workers, and which is why he makes Orpheus leave alone. But even without Hades, the workers had already doomed themselves by putting all of their faith in a single man, and by perceiving his failure as proof that the entire movement should fail. Hades says that "bravery can be contagious when the band is playing loud", highlighting an important fact: music, the music that can actually change the world, is a community effort. As is love, and as is the revolution.

When Hermes says that we must sing the song again and again, in hopes that "it might turn out this time", it feels as if the outcome will always be the same: Orpheus will always turn to look at Eurydice, she will always be dragged back to the underworld, and the revolution will always die there. But the failure is not in the moment Orpheus turns to look - the failure is in envisioning a new world based on the structures of the old world.

So, when Orpheus and all of us have the chance to begin to sing it again, we must sing it, from the star, in a different tune.

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"How the World Can Be" - Lessons for a Revolution from 'Hadestown' - OnStage Blog

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It's not hard to catch on to the fact that Hadestown is an analogy for 21st-century social concerns. At least two of the elements are fairly easy to decipher: one is that "mean old boss" Hades represents a capitalist system that forces people to be overworked and underpaid for the sake of feeling secure, and at the expense of their freedom; the second is that climate change - for which Hades is responsible - is causing hunger, displacement, catastrophes, and instability.

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The musical " Hadestown" retells the ancient Greek myth of Orpheus' journey to the underworld.

Based on the myth of Orpheus and Eurydice, the show is filled with vibrant characters woven into a modern love story, thanks to the stage adaptation of the 2010 folk opera concept album by singer-songwriter Anaïs Mitchell.

The New York production stars Reeve Carney (@reevecarney) as Orpheus, a young dreamer and songwriter. Eva Noblezada (@EvaNoblezada) plays Eurydice, Orpheus' muse. Patrick Page (@pagepatrick) acts as Hades, god of the underworld, who brings Eurydice to Hadestown, an underground factory. And Amber Grey plays Hades' wife, Persephone.

"I think the great thing about Greek tragedy is they exist to teach us about ourselves," Carney says. "[The musical] feels like it does have a timeless element but in a different way than the Greek myths."

That timeless element comes from the "fresh" feeling the show's musical lineup radiates, Noblezada says: The upbeat, catchy songs give the classic myth a lively twist.

"The music is very expressive, so no matter who's listening to it and what their musical background was when they were growing up or what influences them most, the music is kind of a free-for-all," she says.

For Patrick Page, "Hadestown" is "like being at a rock concert."

Page says he could feel the excitement and energy vibrating off the audience during the show. In that moment, he says he knew "something very special is happening."

"This is my 15th Broadway show," he says. "And I have never, ever seen any reaction like this from an audience."

On the musical numbers in "Hadestown"
Patrick Page: "The music for me was the thing that attracted me to the project to begin with. It was unlike anything I'd heard on Broadway before and more like things I listened to at home, like Leonard Cohen, Tom Waits, Jeff Buckley, Joni Mitchell. It had a sound that just hooked me - songs that I wanted to sing, and songs that I wanted to listen to. I tell everybody that my dirty little secret about the show is that although I've now been involved with this show over a period of three years and I've performed it many times and rehearsed it many, many, many, many times, I will still - when I go to the gym - put on a song from the show to workout because I like the music that much."
On the range of voices in the show
Page: "Yeah Anaïs wrote this crazy role, which is the king of the underworld and it is truly, we call it sometimes a 'folk opera,' and I'm never sure exactly what that means. But in terms of the way it stretches the singers' voices, I don't have to do a whole lot to embody the king of the underworld because Anaïs has already done that with where she's written the role. So he sings in a way that you don't normally hear someone sing onstage and that tells you right off the bat, 'Oh he's supernatural, he's not a human being.' And in a way, she's done the same thing with Orpheus. Reeve has to sing these ridiculously high notes."

Reeve Carney: "It's actually really exciting for me to be involved in a theatrical project that allows you to use those parts of your range, because it is quite unusual on both the low and high end for Patrick and I, but it's great. I grew up listening to a lot of female singers and Bobby McFerrin was a huge influence on me. So for me, it's awesome to have a chance to mess with that onstage in a theatrical setting."

On the song called "Why We Build the Wall," written well before Trump started talking about building a wall
Page: "In addition to being an extraordinary poet, lyricist and composer, it seems that Anaïs is a bit of a prophet. She's taken this idea of a wall - a wall that can never be finished, which must always be worked on - and put it into the show. But she said once that any similarity between that wall and any current wall being built or pretending to be built in the United States is purely archetypal.

"Any time you have someone who's trying to hold onto power, which is what my character is doing, he's trying at that moment to build up his own sense of himself, his own sense of power, because his relationship is threatened. Political things come from personal things, so he's feeling threatened in his personal life. He goes out and holds a rally in which he gets everyone to chant about building a wall."

On the politics of building a wall
Carney: "I think I agree with Patrick. I think that the physical walls we tend to create as humans tend to stem from emotional walls - walls that we build against intimacy, togetherness, unity, all those things. I mean, there's so many walls you can build that prevent you from feeling something. That's where I think it starts. And our show deals those themes. I mean ... love, fear, hope, trust, doubt."

Page: "And the world now is so complex and moving so fast and so scary, that it's not surprising to me that people would want to think, 'Oh, well there's a solution. We will simply build this barrier and will keep all of the good people inside and we'll put all of the bad people on the outside and we'll be safe.' That's what Hades is appealing to. Hades is appealing to everybody's desire, in particular Eurydice's desire, to feel safe and comfortable at the expense of feeling loved, feeling creative and feeling free. She can have one or the other - at least, that's the bargain that I offer her until Orpheus shows her that necessarily, it's not like that. You can perhaps choose love and creativity and freedom and you can still have some sense of security."
On performing night after night
Carney: "It's great. You discover new things every day, don't you think?"

Page: "Yeah, you certainly do. And I mean, we were very lucky with the company we get to keep with Amber Grey, André De Shields, and our team, Anaïs, Rachel Chavkin, who really is a genius."
On the energy from the audience
Page: "It's like ... when I would go see Bono and the Edge and U2. The energy that the audience is feeding to the stage, we have three, four, or five hundred people waiting for us at the stage door when we come out, because they don't want the experience to end. They want to have just a little more contact with the people they saw on the stage."
Julia Corcoran produced this interview and edited it for broadcast with Kathleen McKenna. Serena McMahon adapted it for the web.

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'Hadestown' Isn't Your Typical Retelling Of An Ancient Greek Myth

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The musical " Hadestown" retells the ancient Greek myth of Orpheus' journey to the underworld. Based on the myth of Orpheus and Eurydice, the show is filled with vibrant characters woven into a modern love story, thanks to the stage adaptation of the 2010 folk opera concept album by singer-songwriter Anaïs Mitchell.

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The Making of Hadestown's Live Cast Recording

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Hadestown: Inside the Music - "Why We Build the Wall"

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Hadestown Based on the Greek myth of Orpheus and Eurydice, two star-crossed lovers who find themselves caught up in a feud between Hades and Persephone. Set in a post-apocalyptic Great Depression style Oil Drum setting and narrated by the god, Hermes, Hadestown begins in the warmth of summertime....

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Backstage tour with set designers of Hadestown.

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Take a Tour Way Down Hadestown With Rachel Hauck and Rachel Chavkin

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at the 2019 Tony Awards

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Hadestown performs "Wait For Me" at the Tony's 2019

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Hadestown (Original Broadway Cast Recording)

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Hadestown (Original Broadway Cast Recording)

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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.

In accordance with guidelines from the Centers for Disease Control (CDC) and under the continued direction of Governor Andrew Cuomo, Broadway shows in New York City suspended performances March 12, 2020. Although too soon to commit to a return date, Broadway theatres extend ticket refunds and exchanges through January 3, 2021. An official return date will be announced at a later time. Ticket holders should reach out to their point of purchase for information regarding exchanges or refunds.

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Hadestown Broadway @ Walter Kerr Theatre - Tickets and Discounts | Playbill

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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...

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"Why We Build the Wall," "Wait For Me", and More From Hadestown on Broadway

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"Hadestown" is the most-nominated show of the year at next week's Tony Awards. The modern day musical is based on an ancient greek myth. Anthony Mason gives a backstage look at "Hadestown's" unlikely journey to Broadway and the two women who are the creative forces behind it.

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The unlikely journey to Broadway for "Hadestown"

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"Hadestown" is the most-nominated show of the year at next week's Tony Awards. The modern day musical is based on an ancient greek myth. Anthony Mason gives a backstage look at "Hadestown's" unlikely journey to Broadway and the two women who are the creative forces behind it.