It was a long night in Hell as “Hadestown” swept into the Ahmanson Theatre last week. At two and a half hours this epic journey felt more like a trek than a romp. I have looked forward to seeing this show since they wowed me with their pre-Covid Tony Awards performance of “Way Down Hadestown.” Delayed by the pandemic it finally arrived on April 26th for a nearly sold out five week run through May 29th. Clearly the crowd felt as I did and the collective energy filled the air with anticipation.
“Hadestown” is based on the ancient Greek myth of Orpheus and Eurydice. Author, composer and lyricist Anais Mitchell and Director Rachel Chavkin take us on a ride into the underworld and back all while commenting on the morality of humans and the times we live in. Highlights abound but the show itself falters under the weight of excess.
“Hadestown” North American Tour – Photo by T Charles Erickson
The curtain was up and the set visible as the audience took their seats. Three tiered and industrial with an upper level that might remind you of a New Orleans mansion, the set was static until late in the first act when doors opened to reveal the lights of the oncoming train to Hell and the revolving floor began its moves. Designed by Rachel Hauck this feels like something you’ve seen before and though adequate it does not add anything unique or particularly interesting to the production. Flanking the stage on raised platforms were the seven top-notch musicians who play live throughout. They are, Conductor/Pianist, Nathan Koci, Cello/Assistant Conductor, Jacob Yates, Violin, Maria Im, Guitar, Michiko Egger, Trombone/Glockenspei, Brian Drye, Double Bass, Calvin Jones and Drummer/Percussionist, David Lai who played offstage left.
“Hadestown” North American Tour – Photo by T Charles Erickson
It took the audience a moment to realize the show had begun when the actors and musicians, casually walked onstage and took their places. When they did get it, they erupted in excited applause. Hermes, played by the very proficient Levi Kries is there to introduce us to the characters and guide us through this arduous journey. We meet Young Orpheus, Nicholas Barasch, who is “able to charm one and all with his beautiful voice and lyre playing.” Barasch however, does not charm in his overly naïve portrayal. An accomplished singer he chose or was directed to sing most of his solos, of which there are many, in a high falsetto that became more and more grating as the night wore on.
“Hadestown” North American Tour –
Photo by T Charles Erickson
Eurydice, a weak Morgan Siobhan Green, is introduced as a starving waif with whom Orpheus falls in love at first glance. This scene is poorly developed and because Green and Barasch have zero chemistry the awkward love scene as staged by Director Chavkin, is without a trace of lust. Lacking this underpinning of passion the story loses its footing.
Persephone, the “Lady of the Underground”, is married to Hades. Every six months she rises above leaving winter behind and bringing spring and summer with her. As played by Kimberly Marable, Persephone is at once irascible, loud and strangely gawky. This feels like a role that has been expanded without much thought as to why. While Marable is an adequate singer she shares the same issue as singer Green in her role as Eurydice and that is, the lyrics are often garbled to the point of being unintelligible. This is especially true of Green and because this is essentially a rock opera we must understand the words in order to understand the story.
(L-R Clockwise) Kevyn Morrow, Kimberly Marable, Nicholas Brasch, Levi Kreis and Morgan Siobhan Green in the “Hadestown” North American Tour – Photo by T Charles Erickson
Enunciation, however, was no problem for Kevyn Morrow as the handsomely smooth Hades. Morrow has presence that cannot be ignored, as do the three Fates, embodied by Belen Moyano, Bex Odorisio, and Shea Renne. These girls can sing. “When The Chips Are Down” a rollicking number in which Moyano also added expert accordion playing and Renne brought her violin, was a highlight of the evening. Fully committed to their fortune casting characters they brought the house down on several occasions.
Completing the cast is the “Greek Chorus” who through voice and dance “comment on the actions of the citizens,” and that they do through non-stop choreography and backup vocals. Distractingly diverse in appearance and abilities and over-choreographed by David Neumann this chorus would benefit from more subtlety. The pedestrian choreography is simple but constant and falls into repetitiveness especially in the second act. Here is a case where less would be more. Still kudos to the Chorus members who give it their all. They are Lindsey Hales, Chibueze Ihuoma, Will Mann, Syndney Parra and Jamari Johnson Williams.
Levi Kreis and Company in “Hadestown” North American Tour – Photo by T. Charles Erickson
Composer, lyricist Mitchell has written some terrific music, which is expertly orchestrated by Michael Chorney and Todd Sickafoose making for some exuberant moments. The issue is that there is way too much. With sixteen musical numbers per act what was terrific in the first act becomes repetitive in the second and we the audience fatigue out. Adding to this Director Chavkin has incorporated smoke, mirrors, miner’s headlamps, swinging lanterns, the overused turntable and the kitchen sink. This coupled with too much movement and not enough character development leaves the show wanting.
Effective lighting design is by Bradley King with Rachel Chavkin and expert sound design is by Nevin Steinberg and Jessica Paz.
Costume designs by Michael Krass with Jennifer Mullins providing Hair Design and Wigs are hit or miss. Hades and Hermes in their silvery suits stand out but Persephone seems to be from another era. The gypsy-look of the three Fates works well as do their exaggerated hairdos but all others are relegated to the drab work clothes of the underworld. Appropriate maybe but unimaginative.
Hiding in plain sight is a show that has everything it needs to be great. With judiciously deep cuts, focus on character and the development of the true essence of this moral tale “Hadestown” could be one Hell of a show.
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“Hadestown” runs through May 29, 2022. For more information and to purchase tickets, please click HERE.
To learn what is coming next to the Ahmanson Theatre, please visit their WEBSITE.
Written by Tam Warner for LA Dance Chronicle.
Featured image: (L-R) Shea Renne, Bex Odorisio and Belén Moyano in the “Hadestown” North American Tour – Photo by T Charles Erickson
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