In a tale of love, sorrow and the power of song, Broadway Across Canada’s (BAC) Hadestown brought Greek mythology to life through soulful, jazzy tunes and powerful storytelling.
The Tony Award-winning musical, directed by Rachel Chavkin and based on a folk-opera album by Anaïs Mitchell, follows two pairs of lovers: Orpheus and Eurydice, and the rulers of the underworld, King Hades and Persephone.
When Eurydice is enticed to work in the industrial Hadestown to save herself from the winter and starvation, Orpheus, who can bring spring through song, embarks on a desolate journey to reunite with her. Meanwhile, Hades and Persephone must learn to resolve their differences in the underworld.
Narrated by Hermes, messenger of the gods, and accompanied by a jazz orchestra, audiences were swept away in a musical adventure set in a rustic and gruelling industrial realm.
In the role of Orpheus, J. Antonio Rodriguez portrayed his character as a timid yet determined young man hoping for a better future. His graceful voice was distinctive in main melodies, especially in “Epic III” when he pleas to Hades to free Eurydice. Rodriguez also impressively added live guitar playing to complement his voice. In “Wait For Me,” he passionately sang of bravery and determination before setting off to find Eurydice. He captured audiences as he stood centre stage, surrounded by fog, with hanging lights swinging around him on both sides.
As the impoverished yet spirited Eurydice, Hannah Whitley delivered her vocals with a silvery and robust tone. “Any Way the Wind Blows” details her character’s struggles and determination to endure another cold winter. After falling in love with Orpheus, Whitley demonstrated intricately acrobatic lyrical dance skills in the duet “All I’ve Ever Known,” as the two sang of finding love in despairing times.
Maria-Christina Oliverus and Matthew Patrick Quinn played Persephone and Hades, respectively, each with their own sets of personalities and stage presences. Oliverus delivered a spunky and compassionate performance as Persephone, bringing cheer and livelihood through her vocals and dance after returning to the upper world in “Livin’ It Up On Top.”
Quinn brought a commanding and haunting presence to the stage as Hades. He delivered a dynamic performance in the Act I closer, “Why We Build the Wall,” along with the workers’ chorus in his underground factory. Oliverus and Quinn also engaged in a bittersweet dance duet during “Epic III” after Orpheus’ performance reminds Hades of the love he once shared with Persephone.
Nathan Lee Graham dazzled audiences with his joyful performance as Hermes, whose booming voice and charming stage presence fostered audience participation and clapping in the show’s opener, “Road to Hell.” In the song’s reprise at the show’s end, he advised the audience that while the love tale may be tragic, it must be told.
Set design by Rachel Hauck had the National Arts Centre stage decked out as an old-fashioned jazz club with a spiral staircase. Other impressive elements included the stage’s rotating turntable and a wall that opened up as an entrance and exit point, with illuminating lights and smoke effects.
Costumes designed by Michael Krass represented each character’s social status while incorporating subtle nods to Greek mythology through vintage style. Persephone, for example, wore a vibrant green dress with flowers in her hair, while Hermes wore a silver suit with small feather-winged details on his sleeves.
Following a powerful performance addressing the themes of sacrifice, trust and affection, the cast honoured Orpheus after curtain call in a song titled “We Raise Our Cups.” The cast’s chorus echoing around the theatre reminded audience members of Orpheus’ last message—to see the world for what it should be and what it already is.
Hadestown ran until August 27 at the National Arts Centre.
Upcoming BAC productions will include Hairspray in November and Ain’t Too Proud: The Life and Times of the Temptations in December.
Featured image by T. Charles Erickson.
