Theater Review: "Hadestown" Tour at The Bushnell

By Nancy Sasso Janis

The touring company of “Hadestown” is running at The Bushnell in Hartford. “Come see how the world could be” with this imaginative trip “Way Down Hadestown” that continues through March 12, 2023.

“Hadestown” is the winner of eight 2019 Tony Awards® including Best Musical and the 2020 Grammy® Award for Best Musical Theater Album.

This acclaimed new show is the first musical by singer-songwriter Anaïs Mitchell and I found it to be a most impressive debut. With the innovative director Rachel Chavkin, who won a Drama Desk Award for Dave Malloy’s memorable “Natasha, Pierre & The Great Comet of 1812,” this is a unique staging of a striking musical.

The musical is billed as where a song can change your fate. It is a unique love story for today... and always.

Mitchell’s music, lyrics and book intertwine two mythic tales, that of young dreamers Orpheus and Eurydice, and that of King Hades and his wife Persephone, and it invites the audience on a hell-raising journey to the underworld and back.

The writer’s beguiling and lyrical melodies and the director’s strong vision pit industry against nature, doubt against faith, and fear against love. The tiny bits of dialogue presented in rhyme intersperse the mostly sung-through score, with roots in folk and New Orleans jazz. Given the setting, it is a haunting theatrical experience, but there is a hopeful tenant at its end.

The lighting design by Bradley King is a work of art unlike anything I have ever seen, first mysterious, often shocking and once literally swinging above the stage in “Wait for Me.” I loved it. Costumes designed by Michael Krass mix the contemporary and mythical vibe and allow the dancers to move.

The scenic design by Rachel Hauck is a dark interpretation of Hades’ realm and the “Road to Hell” that includes a rotating section of the stage. It also opens slightly to allow stronger lighting elements to be revealed. The choreography of Tony nominee David Neumann is insightful and easy to enjoy.

The two acts are performed by a strong ensemble of beautifully diverse actors, dancers and singers. The three always-present Fates are portrayed by Dominique Kempf, Nyla Watson and Swing Cecilia Trippiedi, who also play instruments on stage. Jordan Bollwerk, Ian Coulter-Buford, Courtney Lauster, Eddie Noel Rodriguez and Alex Lugo play a contemporary ensemble above the group and then the workers in Hell.

In the tour Nathan Lee Graham gets top billing in the role of Hermes, the winged messenger, who is a narrator of the story. Graham was part of the original casts of “The Wild Party” and “Priscilla, Queen of the Desert.” The character is strongly drawn in high registers, so much so that I had difficulty understanding much of what he was trying to convey.

On opening night at the Bushnell, understudy J. Antonio Rodriguez performed the important (and musically challenging) role of Orpheus. As the songwriter in the story, Rodriguez was required to play electric guitar and he rose to the challenge of covering for Nigerian-American actor Chibueze Ihuoma and brought a strong Lantinx presence to the cast.

Belen Moyano, who normally plays one of the three Fates, stepped up to portray the young lover Eurydice and gave a most impressive performance in her role. Moyano, who was born in Buenos Aires, makes every movement count and sings beautifully. Hannah Whitley normally plays Eurydice in her national tour debut.

Understudy Lindsey Hailes performed the role of Persephone on opening night and did well with this wonderful character. If mention was made of Demeter, the mother of Persephone, I missed it.

Hailes is a Brooklyn-based singer, songwriter and dancer who knows that good things take time. “Trust the process and enjoy the journey,” she writes in her bio. Brit West usually performs the role of the wife of Hades.

Matthew Patrick Quinn gives a knock-out performance as Hades in a long black leather coat that emphasizes his height and lean form. His bass and “villainous” voice is the perfect match for his character.

It was exciting for me to see that Eric Kang is touring with the company in the role of music director, conducting the musicians and playing keyboard and accordion. Kang is a New York-based pianist and music director who I saw on the monitor at Sherman Playhouse several times. He has been part of the national tours of “Cats,” “Love Never Dies” and “A Gentleman’s Guide” that started at Hartford Stage. He conducted his fellow musicians with grace and was so comfortable on the stage.

The fabulous orchestra includes Kely Pinheiro on cello, Clare Armenante on violin, Michiko Egger on guitar, Calvin Jones on double bass, Elario Rojas on drums/percussion and Emily Fredrickson on glockenspiel and a trombone (with a solo in “Livin’ It Up On Top.”)

During the entr'acte, Persephone introduces the musicians seated on the stage and revealed that the drummer was backstage, confirming my suspicions that he was watching the conductor on video.

“Hadestown” is truly an experience to behold, in the vein of the Broadway production of “The Great Comet.” The Sunday, March 12 at 6:30pm performance of “Hadestown” will be ASL/AD interpreted. The show runs 2 hours and 30 minutes and is presented with one intermission. Tickets: https://bushnell.org/shows-con...

On March 27 at 7:30 pm, the Bushnell will announce their 2023-2024 Broadway Season. Any guesses?

Nancy Sasso Janis is a member of the Connecticut Critics Circle.