In the last week, I’ve had the privilege to see two Broadway plays: “Waitress” and “Hadestown.” I’ve been curious about both for some time. In 2017 on a NYC vacation, my husband and I should have seen “Waitress.” Katharine McPhee, from the TV show “Scorpion” that we both liked, was in the lead role. I probably would have added it to our itinerary; however, hubby hasn’t been bitten by the theatre bug quite as much as me.
It was in the Twin Cities at the Ordway Center for Performing Arts, where I hadn’t yet been. Thanks to COVID, until this week I hadn’t yet been to any of the area’s theatres. The theatre is lovely, and the play was good, I thought. Dark aspects of the storyline surprised me, and a few “adult” scenes caught me offguard. I liked the play, and the cast was talented with good music and a couple numbers I especially liked.
To be fair, “Hamilton” has significantly raised the bar from my perspective. If a play isn’t at that level, and they all cannot be, I tend to feel a little bit let down.
Last night at the Orpheum Theatre, “Hadestown” met the bar, in my opinion. It is a many-layered story, like Hamilton. The inspiration for this playwright, Anaïs Mitchell, was Greek mythology (and Ron Chernow’s book, “Alexander Hamilton” was for Lin-Manuel Miranda). Mitchell wrote the music, lyrics and book that is “Hadestown.” The level of talent and creativity necessary to do all that is what inspires me about both her and Miranda, and these two plays.
The Hennepin Theatre Trust website describe the play as:
Intertwining two mythic tales — that of young dreamers Orpheus and Eurydice, and that of King Hades and his wife Persephone — Hadestown is a haunting and hopeful theatrical experience that grabs you and never lets go.
A short description of the book called it a “folk opera,” which seems right. From the opening second last night at the Orpheum, I was hooked. I realize I neglected to look at the list of who performed last night, so I’m going to assume my playbill is current. (My apologies to all if that’s incorrect.)
The entire cast and the musicians are on stage nearly the entire time. The cast we saw was so talented, with many great singers. Morgan Siobhan Green who plays Eurydice may have been the strongest singer.
The narrator, Hermes (Levi Kreis), charmed and delighted the audience. His role felt like part huckster, part revival preacher. His website says his church primarily influenced his work, and it seems that made him perfect for this role. In fact, much of the music to me felt a little bit gospel and a little bit jazz. Its energy, especially in Act I, was powerful.
I also enjoyed listening to Hades sing. Kevyn Morrow’s rich baritone is almost hypnotic. I’ve long-loved “Jesus Christ Superstar,” which I initially saw in film, many years before I got to see it on stage. If I remember right, it was Caiaphas (played by Bob Bingham) who was a similar baritone. As I listened to Morrow, I could imagine him playing Caiaphas.
The story is powerful. It is about love, what the depths of love—and greed—can drive us to do. Parallels of winter and spring to the underground (hell) and earth (heaven); love and devotion against greed; supremacy and oppression; the haves and have nots. I didn’t necessarily expect political undertones, but I understand them, and perhaps it is the lens of 2020 that opened my eyes more to them. She wrote the play in 2006 and of course these issues existed then too. I know I wasn’t paying the same kind of attention then.
I would be remiss if I did not applaud the lighting, designed by Bradley King. Powerful. The lighting in “Hadestown” was so instrumental in telling the story, as it was in “Hamilton.” I’m in jaw-dropped awe of that talent. It’s nowhere in my realm of anything. There were a few scenes where the bright light hits the audience, so be prepared for that, mostly in Act II.
The play runs two hours and 30 minutes, which flew by for me. I caught my husband looking at his watch once or twice. He was less amazed by “Hadestown” than me, which is OK since we all have different likes and dislikes. I truly think its creativity and talent of all involved is on par with “Hamilton.” I would absolutely see “Hadestown” again and again.
I’m disappointed, and somewhat frustrated, that I have not heard the gushing praise for Mitchell that we’ve all heard for Miranda. (I may have missed it.) He deserves it, no question. So does she. And is it the she in that sentence that has reduced the attention and lavish praise for her work? In our still-sexist society, oppressive as it is (which both plays speak to), we know that women still do not get the recognition in their careers that men do. In my opinion, Anaïs Mitchell deserves every bit as much attention as Miranda has gotten (and I adore Lin-Manual Miranda).
Side note from the Playbill: The Orpheum Theatre gets its name from Orpheus, and this is the theatre’s centennial year.