THE HANGOVER REPORT – HADESTOWN at NYTW features a stunning score by Anaïs Mitchell but lacks theatrical cohesion

hadesLast night at New York Theatre Workshop, I attended a performance of Hadestown, the stage adaptation of Anaïs Mitchell’s critically acclaimed concept album, a free-flowing recasting of the Orpheus and Eurydice myth. For this production, the NYTW’s space has been transformed into an intimate and immersive Greek amphitheater (the action takes place not only on the “stage” but throughout the seating area, as well). This is no surprise given that the show’s director is Rachel Chavkin, the same directorial mastermind behind the sensationally immersive Natasha, Pierre and the Great Comet of 1812, which is slated to start performances on Broadway this fall.

Ms. Mitchell’s score is stunning, featuring a soulful and eclectic sound that bursts with vitality. For this stage production, Ms. Mitchell and Ms. Chavkin have employed a top-notch onstage seven-piece band that do the score full justice. Unfortunately, no matter how powerfully emotive the score is and expertly it’s performed, the piece suffers from a practically non-existent book – it’s telling that the program doesn’t list a book writer – and a lax aesthetic point of view (this coming from someone who tremendously enjoyed Green Day’s foray into theater, the stylish yet book-less American Idiot). As a result, this critic simply could not engage in the oft-told tale on either an emotional or theatrical level. As a music concert experience, however, I give the endeavor an A+.

The cast is mostly remarkable though. As the doomed lovers, Damon Daunno and Nabiyah Be – Orpheus and Eurydice, respectively – were both earnest and beguiling, particularly vocally (he croons like a young Thom Yorke, and she as sensitively as Adele). Despite the ravishing sounds they make, however, they mostly come across as two dimensional sketches, which again I blame on the book.  The most accomplished theatrical performances come from Patrick Page and Amber Gray as Hades and Persephone, respectively. They both bring depth and earned pathos to the show that’s needed (and, not surprisingly, they both sound exquisite). Lastly, Chris Sullivan’s excellent Hermes, the piece’s narrator, oozes charisma and forcefulness in equal measure.

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HADESTOWN
Off-Broadway, Musical
New York Theatre Workshop
2 hours, 15 minutes (with one intermission)
Through July 3

Categories: Off-Broadway, Theater

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