In Hadestown, there is nothing quite like a song.

Though I’m not normally a fan of mythology, Hadestown has a universal appeal as a soulful journey through faith and love with idealistic expectations and earnestness of what could be.  A dream awakened of a love not tethered to a world of capitalism and poverty.   Pure and untarnished was Orpheus and Eurydice.

Directed intuitively by Rachel Chavkin with pulsing and dynamic choreography by David Neumann and stirring music, lyrics and book by Anaïs Mitchell, Tony award-winning Hadestown continues at the Boch Center Wang Theatre in Boston, Massachusetts live and in person through Sunday, April 28.  The production is two hours and 30 minutes including one intermission.  Click here for more information and tickets and here for its next stop on its national tour.

Set in a New Orleans-style depression era with a steam punk vibe and fueled by Bradley King’s brilliant lighting, Hadestown explores a mystical world of gods, men, and the social divide of the haves and have nots.  This world is dark in more ways than one, but King’s amazing lighting dances like the characters onstage through spotlights to glowing lanterns to strobe lights to illuminating headlights – fierce, occasionally harsh, luminous and lively.   Accented with a wrought iron balcony, etchings and green walls, scenic designer Rachel Hauck infuses classic New Orleans finesse with hidden tunnels and functioning railroad whistle.  A sparkling black umbrella is just a hint of the unique, Victorian, steam punk-inspired costumes by Michael Krass steeped in mostly black and white that emphasize vibrant bursts of color featuring pinstripes, metal, and leather.

With a haunting horn and fiddle-infused soundtrack that blends folk, blues, and New Orleans-style jazz delivered by an intimate onstage band, Hadestown boasts a plethora of edgy, powerful and distinctive vocals unique to each character.  Chant and Way Down Hadestown are especially catchy and inventive tracks in a unique collection of pops, clicks, and layered harmonies. 

Narrator, advisor, and consoler Will Mann affably portrays Hermes with self aware warmth and an interactive hint of wistfulness skillfully drawing the audience into this multilayered tale.  With soaring vocals and an exuberant yet tough exterior, Amaya Braganza glows as wanderer Eurydice.  Sporting blue hair, ripped stockings, and black boots, Braganza as Eurydice is vibrant and helplessly taken by naïve, romantic, humble, and spontaneous musician Orpheus, depicted with endearing charm by J. Antonio Rodriguez.  Together they perform a soothing and vulnerable rendition All I’ve Ever Known.  High tenor Rodriguez has an angelic falsetto hitting notes that seem otherworldly for Doubt Comes In. 

With a rock star swagger and strut, Matthew Patrick Quinn breaths into Hades a rich and authoritative baritone and scene stealing wit behind thin dark shades.  He wields the atmosphere driven by coal, capitalism, and soulless innovation especially prevalent in Quinn’s rendition of Why We Build a Wall.  With electric blue eye shadow and a lustrous lime dress with florals, Lana Gordon is striking as Persephone with fervent vocals to match.  Gordon performs a memorable duet with Quinn for How Long and navigates Our Lady of the Underground with a remarkable belt. 

Marla Louissaint, Lizzie Markson, Hannah Schreer depict three mesmerizing and elusive Fates.  They personify the conscience, the doubt, the fear, and the creeping proclamation of humanity’s shortcomings in a trio of chiming harmony.  Burning into the psyche, their ascending vocal prowess is emphasized in an impressive and partially acapella rendition of Nothing Changes, soaring When the Chips are Down and in their role in Hadestown’s signature number Wait for Me.

Hadestown reflects the shortcomings of being human while the pettiness of the gods weighs in the balance of everyone’s fates culminating into a gripping finale.  Eternally hopeful, Hadestown is a profound journey definitely worth the trip.

Directed intuitively by Rachel Chavkin with pulsing and dynamic choreography by David Neumann and stirring music, lyrics and book by Anaïs Mitchell, Tony award-winning Hadestown continues at the Boch Center Wang Theatre in Boston, Massachusetts live and in person through Sunday, April 28.  The production is two hours and 30 minutes including one intermission.  Click here for more information and tickets and here for its next stop on its national tour.