Hadestown has returned to its roots. Creator Anaïs Mitchell worked on the concept for years, including a production at Edmonton’s Citadel Theatre in 2017. When it finally made it to Broadway in 2019 it earned 14 Tony Nominations and won 8 awards. In the last few years many shows have closed on Broadway, but Hadestown continues to sell out night after night.

I was lucky enough to see the show on Broadway in 2022. Its soundtrack has been a part of my musical’s rotation ever since. When the touring production was announced last year, I was excited to see it again. The Walter Kerr Theatre in NYC is one of the smallest, and I was curious how the staging in a large theatre would capture the intimacy of the original. Having seen most of the original cast, I was also hoping that the touring production would be comparable.

In both instances, the show exceeded expectations.

The story tells a version of the Greek Myth of Orpheus (J. Antonio Rodriguez) a poor singer-songwriter, and Eurydice (Amaya Braganza), a young hungry girl. The two fall in love, but Eurydice ends up in Hadestown, the underworld ruled by King Hades (Matthew Patrick Quinn). Orpheus makes a journey to bring her home.

The cast is phenomenal. Quinn’s presence and booming bass voice intimidates and induces chills as he looms over the Kingdom as Hades. Braganza’s Eurydice is every bit as emotional and powerful as Eva Noblezada, who created the Broadway role. The portrayal of Orpheus requires a sensitivity in voice and character that Rodriguez delivers.

The show also requires a strong Persephone, the wife of Hades. Lana Gordon’s performance is phenomenal. As for Hermes, who fills a role of narrator and guide to Orpheus, it is massive shoes to fill as Broadway icons Andre De Shields and Lillas White have put their mark on the role. Will Mann’s version is younger but delivers a great performance. The entire main cast is captivating, and the set captures both the New Orlean’s Jazz Club and Industrial Underground and makes the Jubilee feel as intimate as the original.

We can’t review the show without touching on The Fates and the Workers who push important parts of the story forward.

When I think about some of my favourite songs from the show like both versions of Wait for Me, the booming Why We Build The Wall, the catchy Our Lady of the Underground or the sombre and beautiful show ending We Raise Our Cups I get goosebumps.

From start to finish, Hadestown is an emotional beautiful journey that is worth grabbing a ticket for. The touring production matches the Broadway show in talent and storytelling, which is some of the best praise I can give. I wouldn’t be able to choose which I liked more. If you have been lucky enough to see the show before, see it again. If you haven’t... go, get a ticket.

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Contributor Jason Clevett |

Locale Calgary |

Topic Theatre |