‘Hadestown’ Musical Review: A Mostly Successful Iteration of the Beautiful Tragedy

Part of the North American Tour of “Hadestown,” the musical retelling of the Greek tragedy of Orpheus with music, lyrics, and book by Anaïs Mitchell, came to the Hanover Theater and Conservatory in Worcester, MA from March 28 to April 2. Featuring strong performances and creative choreography, the North American Tour is mostly successful in bringing the gorgeous musical to life.

The cast is an asset to the production. Chibueze Ihuoma in the leading role of Orpheus brought a palpable earnestness and naivety to the character, making his disillusionment over the course of the story even more heart-wrenching. His performance was particularly stunning during the desperate ballads “Wait for Me” and “If It’s True.” Ihuoma also had a subtle but touching chemistry with his love interest Eurydice (Hannah Whitley) as the two demonstrated a very clear and natural romance onstage even when they were not the focus of the scene. Whitley’s performance was convincing throughout, and played a delightfully gentle but abrasive iteration of Eurydice.

Nathan Lee Graham brought a sense of camp to the character of Hermes. Though his performance was entertaining and his vocal talent was clear, his choice to playfully overdramatize Hermes provided some tonal incoherence throughout the show. This negative effect was most egregious when Hermes gargled after Orpheus’s impassioned toast about hope for the future in spite of strife during “Livin’ It Up On Top.”

In fact, issues of comedic timing continued throughout the show. Several emotionally powerful moments were sacrificed for laughs. Eurydice’s and Orpheus’s reunion and Hades remembering the song of his love are particularly perplexing examples — ill-timed humor completely undercut their potential power. The end of Act One — where Eurydice went into Hades’s (Matthew Patrick Quinn) office to sign a contract — is similarly uncomfortable, as this production suggested a distinctly sexual dimension to Hades’s manipulation of Eurydice, but unfortunately was uninterested in investigating this exploitative dynamic further, as the moment was quickly forgotten in Act Two in favor of Persephone’s (Lana Gordon) admittedly brilliant rendition of “Our Lady of the Underground.”

Though some of these aspects could have benefitted from more workshopping, the staging of the show on a fairly small stage was impactful and creatively done. The band performed live onstage for the whole show, and their ad lib interactions with the cast brought a vibrant, genuine aspect to the world. Though there were some strange moments in the pair work between Eurydice and Orpheus, and Hades and Persephone, the alternate uses of camaraderie and stillness during Orpheus’s numbers and sharpness and sternness during Eurydice’s helped to visually establish the world and these characters’ opposing philosophies.

From beginning to end, the performance of the ensemble was excellent, both in creating the world of Hadestown and supporting the principal characters’ arcs. Ensemble members Jordan Bollwerk, Jamal Lee Harris, Courtney Lauster, Sean Watkinson, and Cecilia Trippiedi (in the March 28 performance) were entertaining and convincing in the large range of performances they give and support, and they were engaged for the entire time they were onstage — which was brilliantly demonstrated during “If It’s True.”

Though it may be an influence from “Hamilton,” the revolving stage was well used — and since there was no stage elevator, the platform mechanism used to bring actors above and below the stage, which was central to the Broadway production of “Hadestown,” the North American Tour adapted to include a large opening and closing door. The change was smooth, and it was effective at maintaining the dramatic atmosphere.

The work of lighting designer Bradley King was also effective, with different colors emphasizing different characters during the loud ensemble numbers, and seamless transitions between raucous vibrancy and candlelit “I Want” songs during the first act. The only uncomfortable moment was when the workers’ headlamps shone bright lights directly into the audience’s eyes during “Wait for Me,” but thankfully this passed quickly and was forgotten in the wake of the stunning transition into Hadestown as the stage enlarged, revealing a stylized view of pipes and lighting, creating the impression of a behind-the-scenes look at the underbelly of the stage.

There were some minor problems with costumes, designed by Michael Krass. The majority of them looked quite cheap, with thin fabrics and a lack of structure, but the colors were well-articulated to show the different characters’ worldviews. Ironically, the exploited workers’ brown leather overalls were the most convincing. Similarly, the strap for Orpheus’s guitar did not fit and so it frequently threatened to fall, though Ihuoma handled it professionally throughout.

Ultimately, despite some minor points that may have benefited from further ironing out, the North American Tour of “Hadestown” features great performances, creative staging, and production choices that add more texture to the already touching and cathartic musical.

— Staff writer Millie Mae Healy can be reached at milliemae.healy@thecrimson.com.