THEATRE REVIEW: "Hadestown" at the CIBC Theatre (Chicago, IL)

     On Wednesday, March 2nd, 2022, I saw the Anaïs Mitchell / Rachel Chavkin musical "Hadestown"  at the CIBC Theatre in Chicago, Illinois.   Unless I'm mistaken, the last show I saw at this theatre was "Hamilton" back in 2017.  The synopsis of "Hadestown" is sort of hard to describe.  The musical was mesmerizing... dark...morose... yet funny and lighthearted at times.  It was nothing short of a big musical--one of which all the stops were pulled out for the National Tour. 

     I knew very little about the musical's origin and long road to Broadway prior to seeing the show.   I think it was supposed to have its Chicago Engagement during Broadway In Chicago's 2020-21 season, but was delayed because of the pandemic.  This was the first show I'd seen since the pandemic began.  Back in November 2021, on Thanksgiving  Night, I won the Broadway in Chicago ticket lottery for  "Paradise Square."  To make a long story short, I didn't end up seeing it.  This time,  I threw caution to the wind when I won a ticket to "Hadestown."

     On the night I saw this musical, the cast included Nicholas Barasch (Orpheus), Morgan Siobhan Green (Eurydice), Levi Kreis (Hermes), Kimberly Marable (Persephone), and Kevin Morrow (Hades).  The Fates were played by Belén Moyano, Bex Odorisio, and Shea Renne.  The Workers Chorus included Lindsey Hailes, Chibueze Ihuoma, Will Mann, Sydney Parra, and Jamari Johnson Williams.  The orchestra included Cody Owen Stine (Piano), Jacob Yates (Cello), Edith Yokley (Violin), Michiko Egger (Guitar), Audrey Ochoa (Trombone), Calvin Jones (Double Bass), and Anthony Ty Johnson (Drums/Percussion). 

 

 

"Hadestown" up on the marquee of the CIBC Theatre 

     One of my favorite things about this show was the turntable mechanism that was part of Rachel Hauk's scenic Design.  Other productions I've seen that utilized a revolving stage were "Hamilton,"  Drury Lane Oakbrook's production of "Next to Normal," and the First National Tour of "Les Misérables."  One of my other favorite components of the show, besides the lighting design, was the music--and the entire show was sung through, with the exception of some of Hermes's omniscient narration and various moments of spoken dialogue between songs.  Did I mention it was entirely sung through?

     All in all, seeing this musical was an enjoyable  experience, even though the view of the stage from my seat was partially obstructed by speakers and stage lights.  Didn't I say I was a fan of Bradley King's lighting design?  I think it would have looked funny to the people behind me if I started having an animated conversation with the speakers in front of me.  I could have been moving my head as I spoke and making random hand gestures as the Broadway in Chicago theatre usher pretends not to notice as long as I took no photos of the stage prior to showtime.  

View of the stage from my seat. 

     So, as far as the synopsis, "Hadestown" has to do with Hades and Persephone.  I guess a consequence of their relationship is the changing of one season to another.  The musical is set in an industrialized version of the underworld from Greek Mythology, which you'd think would be a welcome distraction from the changing seasons... even as something to complain about.  "Hadestown" is also about the tragic love story of Eurydice and Orpheus.  What's tragic is how human they both are.  While they are technically in love, Eurydice's true passion is food and shelter, while Orpheus is driven by his true love of music and songwriting.  The end of the musical got a little confusing.  When Hades recognized the recurring melody Orpheus wrote as his own (spoiler?), I thought he and Orpheus were the same person--or different versions of themselves.  This complex musical narrative is told by a wingless Hermes, who wears a suit and totes a black umbrella, though it never rains in Hadestown (so it seemed).   It's hard to believe that the World Premiere Production of "Hadestown" (in Barre, Vermont) was way back in 2006--though some consider its 2016 off-Broadway Premiere at the New York Theatre Workshop to be the World Premiere.  This is a show I would love to see again.  I left the theatre with more gratitude and optimism than when I arrived.