'In its trip down to hell, 'Hadestown' is the one show that transported this Broadway theatergoer to heaven,' writes CharlesMcNulty
the rare musical that’s as clever as its movie source, could give “The Book of Mormon” a run for its guffaws. I didn’t make it to “Beetlejuice,” because life is short and hotels are expensive, but director Alex Timbers can always be counted on for quirky color.musicals would seem to make a perfectly respectable crop.
For those needing a refresher on their ancient legends, Orpheus, who can enchant even stones with his lyre and singing voice, fell in love with Eurydice, who was bitten by a snake on their wedding day, causing Orpheus to try to rescue her from the underworld. Hades, god of the dead, abducted Persephone, whose mother wielded her powers to ensure that her daughter would at least be able to return to Earth for half the year, leaving the other months in gray barrenness.
The moonlit music occasionally evokes “Spring Awakening” in its moody choral moments. The presence of a slick narrative preacher-guide, André De Shields summoning all his feline elegance in the role of Hermes, rapturously brings back Lee Breuer and Bob Telson’s “The Gospel at Colonus.” And the flair with which ancient myth is dispersed across its medium recalls the cross-cultural cinematic swirl of Marcel Camus’ 1959 film, “Black Orpheus.
Chavkin, whose direction is part of the authorship of “Hadestown,” foregrounds the ensemble nature of the musical. Hermes mediates the tale; Persephone and Hades extend and complicate it. A chorus of Fates reflects on the goings-on like whispering inner voices and an onstage band provides waves of music for all to ride on.
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