Front Row Reviewers

Aug 3, 2022 | Reviews

Hadestown at the Eccles in Salt Lake is Hot, Hot, Hot!

Front Row Reviewers

Front Row Reviewers

By Jennifer Mustoe

Hadestown, music, lyrics, and book by Anaïs Mitchell, playing at the lovely Eccles Theater in Salt Lake City, is such a startling, beautiful, poignant, spicy production, I am almost intimidated to review it. Hadestown is an experience, and one you do not want to miss.

Hadestown begins with a view of the wonderful set, designed by Scenic Designer Rachel Hauck. It represents the world above, meaning our Earth. The set is imposing but almost feels familiar, which is a theme in the show. As Hadestown progresses, the set changes, from sweet and sassy to dark and forboding. Bradley King‘s Lighting Design is all that we want to see in the world above and the world below. Note: this show has strobe-like lights and spotlights that turn toward the audience a few times. If this bothers you, shut your eyes and listen. Immerse yourself in the sound. Music Director Nathan Koci has compiled the sounds of darkness, light, happiness, love, despair, and redemption in the voices and instruments that make up the show. The music in this musical is infectious.

The swaggering yet kind Hermes, donned in a silver suit (Costume Design by Michael Krass), played by Levi Kreis, greets us with spunky, sparkly, heartwarming welcome with “Road to Hell” as he amps up the stage and the audience. From the first song, we in the audience went wild with applause. Euridyce (Morgan Siobhan Green) arrives, battered, tired, clothed in rags. We feel concerned for her as she shivers, seemingly ashamed of her state. The Fates (Belén Moyano, Bex Odorisio, Shea Renne) also appear and they are a delicious trio. Their harmonies are spot on. The Fates, according to Greek legend, were the incantations of destiny, though in Hadestown, they seem more like taunting symbols of temptation and evil in the guise of frenemies. Hermes’s ward Orpheus (Chibueze Ihuome), wide-eyed, poetic, and beautiful, spies Eurydice and he is lost in love. Immediately proposing to Eurydice (I guess that was the way of things then) she is concerned about their poverty but finally agrees when she hears him sing. Had he sung to me like that, I’d have consented to marriage, too. The two have a love scene that is tender and not at all graphic. We are rooting for these lovers. Green and Ihumo possess voices that blend well. Green’s is lovely and she is able to implement her exhaustion and despair into her songs. It turns out that Orpheas not only sings like an angel (he really seems angelic), he plays the guitar and his ballads are incredible. Orpheas’s song is a huge plot point, at this point just a string of incredible notes. He has the gist of most of it, but he has a little more to write and swears that when it’s done, the world will become Spring again. He begins the tune and we are mesmerized.

Hades (Kevyn Morrow), King of Hadestown, is married to Persephone (Kimberly Marable), goddess of Spring. She spends half a year with her mate, though she hates it in his underground factory. Hades comes to get her early and Persephone is none too happy. This creates havoc in the world above and the world below. This seems like an intricate plot but in fact, it is not. Morrow’s deep voice and Marable’s incredible sass clash and collide. However, their love song (Echo lll) toward the end of Hadestown, sung by Orpheus, had me crying so hard that I had to take my mask off to dry my face.

The music, played from risers on stage right and stage left, creates an aspect of the show that few musicals do. These musicians bring not just their music but their personalities that add layers to Hadestown that we rarely get to enjoy. Conductor/piano/accordion: Nathan Koci; Cello/Asst Conductor: Eric Kang; Violin/Asst Conductor: Melissa Tong; Guitar: Michicko Egger; Trombone/Glockenspiel: Emily Fredrickson; Double Bass: Gervis Myles; Drums/Percussion: Eladio Rojas; and Music Conductor: David Lai comprise this group and they are hot as hell. Additionally, two of the Fates play instruments as well. I kept wondering, how many combined years combined (hundreds?) of lessons, practicing, performing that those band members have spent. Did they ever imagine they would be participating onstage for a Tony-winning Broadway show? I can only imagine that being part of Hadestown is a dream come true. As well it should be.

This incredible musical, developed and directed by Rachel Chauvkin is nothing less than perfect. I was completely immersed, carried away. I didn’t want it to end, yet the anticipation and yearning was almost impossible to endure.

Choreography by David Neumann brings a layer to Hadestown I’ve rarely encountered. The scenes where the marvelous ensemble move like machines need to be seen to be believed. With the Steam Punk costumes looking like metal, and the jerking arms like grinding gears, it is harsh, it hurts, but it fascinates. The joy of some of the first numbers compared to those in the underground factory–my heart was full, light, happy. And then empty, crushed, horrified.

Krass has a wonderful paradox of worlds to create costumes that delight and depress. The slimy underground uniforms slap the face of the joyous outfits from the world above. And Persephone’s bright green dress with its sassy shoulders that Marable waggled over and over made me smile.

I am loathe to tell more of Hadestown‘s story. We read the Wikipedia article about it and it helped us understand it more, but it isn’t necessary. But I will say, I’ve been pondering the idea of Hope as something powerful, and the story of Orpheus and Eurydice is a cautionary tale. It hit me hard, even though I knew what was going to happen. But honestly, it’s the journey of Hadestown that we walk away with. Choices made, opportunities lost, love embraced and destroyed, trust and deception. Haven’t we all experienced this?

Zions Bank/Broadway at the Eccles presents Hadestown, music, lyrics, and book by Anaïs Mitchell.
131 Main Street, Salt Lake City, Utah
August 2nd – 7th, 2022 times vary. Runs 2 hours, 40 minutes
Contact: 801-355-2787
Hadestown tour site
Hadestown Twitter
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Broadway at the Eccles Facebook Page
Eccles Theater Facebook Page
Broadway Across America Facebook Page

Recommended for ages 8 and up. No babes-in-arms. All patrons must have a ticket regardless of age. No one under the age of 2 will be admitted. Masks recommended.

Photos by T. Charles Erickson

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