{"id":4905,"date":"2026-07-25T19:36:27","date_gmt":"2026-07-25T19:36:27","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=4905"},"modified":"2026-07-25T19:36:27","modified_gmt":"2026-07-25T19:36:27","slug":"hadestown-the-musical-review-captures-the-crowd-pleasing-vibrance-of-the-mythological-new-orleans-meets-rock-opera-stage-show","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=4905","title":{"rendered":"\u2018Hadestown: The Musical\u2019 Review: Captures the Crowd-Pleasing Vibrance of the Mythological New Orleans-Meets-Rock Opera Stage Show"},"content":{"rendered":"
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\n<\/p>\n
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\n\tThere\u2019s a certain kind of Broadway musical that\u2019s so fresh and brash and effusive it can seem as if the very form<\/em> of the show is bursting right out of its creators\u2019 need to tell it. \u201cA Chorus Line\u201d was like that. So were \u201cChicago\u201d and \u201cRent\u201d and \u201cHamilton.\u201d And while I won\u2019t claim that \u201cHadestown\u201d is the equal of those shows, it\u2019s a musical that catches you up not merely in the story it\u2019s telling but in the vivacious, spilling-over-the-sides fervor of the show\u2019s structural design.<\/p>\n

Read more \u2018Love Island USA\u2019 Contestant Kenzie Slams Rumors That She\u2019s a Trump Supporter \u2018Just Because I\u2019m Blonde and White\u2019: \u2018F\u2014 the F\u2014 Off!\u2019<\/a><\/p>\n

\n\t\u201cHadestown: The Musical,\u201d a movie version that records and presents a live performance of the show that took place in February 2025 in London (much as the 2020 film of \u201cHamilton\u201d presented a live production of that show), offers a splendid opportunity for anyone who hasn\u2019t seen \u201cHadestown\u201d onstage to experience it. The audience we see at this production at the West End\u2019s Lyric Theatre is so in love with the show that you feel every person there has already seen it three times. And maybe that\u2019s the case, since \u201cHadestown,\u201d with its free-form jamboree vibe, its spontaneous swirl of musicians and dancers onstage, is as much a happening as it is a musical. It\u2019s a show about ancient mythology \u2014 it tells the story of Orpheus and Eurydice, which it interweaves with the tale of Hades and Persephone. That sounds daunting, but \u201cHadestown,\u201d with its book, music, and lyrics by Ana\u00efs Mitchell, succeeds in making those myths feel timeless, which of course they are. It\u2019s a show about love, but more than that it\u2019s a show about faith.<\/p>\n

\n\tThere is one set, and it looks like the grand interior of a moldering mansion in the late-afternoon sun if it were the New Orleans home of Dracula and he was a bootlegging gangster. The music, in a song like \u201cWay Down Hadestown,\u201d has a jaunty New Orleans spirit (especially when the trombone gets going), but much of the score is more eclectic than that \u2014\u00a0it\u2019s a collage of brass-band exuberance and rock-musical passion and gospel ecstasy. One number, \u201cWedding Song,\u201d sounds like \u201cCan\u2019t Find My Way Home\u201d from the Blind Faith album. The lyrics to one of the best songs, \u201cWhen the Chips Are Down,\u201d play like an update of Madonna\u2019s \u201cMaterial World.\u201d The show uses its infectious array of musical styles to evoke a big tent of rootsy Americana, and since most of the action is sung, it all has the feel of a patchwork opera.\u00a0\u00a0<\/p>\n

\n\tThe figure who draws us into \u201cHadestown\u201d is Hermes, the herald of the gods who\u2019s also the show\u2019s narrator. He\u2019s played by the Broadway legend Andr\u00e9 De Shields, who is now 80, and in a crisp silver three-piece suit, his whitish hair beaming off his head like an aureole, De Shields, with his diffident impish manner, his wavery slow vibrato, and his sunken cheeks that bespeak a pain he will not share, creates a presence of mystical authority. He\u2019s down-home but larger-than-life, and so is the entire show.<\/p>\n

Read more Roxette Cancels 40th Anniversary Tour of North American Amphitheaters, Citing \u2018Hugely Increased Touring Costs\u2019<\/a><\/p>\n

\n\tIn mixing the myth of Orpheus and Eurydice with the romantic travails of Hades, the king of the underworld, \u201cHadestown\u201d creates a romantic saga with a distinct echo of the one in \u201cMoulin Rouge!\u201d In that classic 2001 movie (as well as the Broadway version that premiered in 2018), Christian and Satine were bohemian lovers, while the Duke of Monroth was the moneybags conniver who thought he could buy Satine\u2019s love. In \u201cHadestown,\u201d Orpheus (Reeve Carney), a struggling poet and songwriter, meets the impoverished Eurydice (Eva Noblezada), and the two fall in love. But they can barely subsist. Hades (Patrick Page), portrayed as a demonic executive who presides over an underworld foundry, has driven away his wife, Persephone (Amber Gray), and he persuades Eurydice to come down to Hadestown, where he will love and protect her. She\u2019s desperate enough to make a deal with the devil.<\/p>\n

\n\tIf and when somebody pulls it together to make the Jeff Buckley biopic, I think we now have the actor to play him. It is Reeve Carney. He looks like Buckley, and has his floppy-haired louche glamour, but more than that he sings<\/em> like him, with a keening high tenor that\u2019s spellbinding. He makes Orpheus a character who\u2019s a pure expressive force, a vessel of love and art and the vulnerability that comes of valuing both. Eva Noblezada, as Eurydice (she and Carney met during the early stage production of \u201cHadestown\u201d and are now married), has a voice of ardent richness and a presence of traumatized devotion. And Patrick Page as Hades, the capitalist oppressor in his long leather coat, presiding over his factory world, lends the drama the villainous force it needs, although his Hades is far from inhuman. Page, tall and sculpted, with elegant white hair and a matching beard, is like Ian McKellan crossed with Christopher Lee. When Orpheus travels to Hadestown to retrieve Eurydice, and Hades agrees to let her go (under the condition that Orpheus can never once look back at her during the long journey home), he has designed this infamous conundrum as an elevated test<\/em>. It will be the test of Orpheus\u2019s faith, and watching the journey we in the audience contemplate what any of us might do. What does it mean\u2026to look back?<\/p>\n

\n\tThe show feels like a street dance crossed with a concert (at one point the musicians are introduced by name) that happens to have a hallowed myth threaded down the middle of it. The three Fates (Bella Brown, Madeline Charlemagne, and Allie Daniel) orbit the action like spitfire satellites. As directed by Brett Sullivan, \u201cHadestown: The Musical\u201d transmits the show\u2019s earthy electricity. That said, it\u2019s still striking that the bare-bones film version of a Broadway musical that isn\u2019t \u201cHamilton\u201d is going to make $10 million at the box office this weekend. As the audience response to it in the movie makes clear, \u201cHadestown\u201d is a show with a worshipful following. The movie made me a believer.<\/p>\n

Read more \u2018Bob\u2019s Burgers\u2019 to Unveil New Holiday Short \u2018On the Fort Day of Christmas\u2019 This Year on Hulu<\/a><\/p>\n<\/div>\n<\/div>\n

\n

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\t\t\u2018Hadestown: The Musical\u2019 Review: Captures the Crowd-Pleasing Vibrance of the Mythological New Orleans-Meets-Rock Opera Stage Show<\/p>\n<\/h2>\n

\n

\t\tReviewed online, July 24, 2026. Running time: 141 MIN.<\/p>\n<\/h2>\n

    \n
  • \nProduction:<\/strong>
    \nA Crosswalk, LD Entertainment release of an Octoverse Media production, in association with Steam Motion and Sound. Producers: Mara Isaacs, Dale Franzen, Hunter Arnold, Tom Kirdahy. Executive producers: Tyler DiNapoli, Danny Gabai, Michael Glassman, Kevin Kiyoji Iwashina, Miranda King, Mickey Liddell, Kent Sanderson, Pete Shilaimon.\t\t\t<\/li>\n
  • \nCrew:<\/strong>
    \nDirector: Brett Sullivan. Screenplay: Ana\u00efs Mitchell. Camera: Clayton Jacobsen. Editor:s Marko Keser, David Tregoning. Music: Ana\u00efs Mitchell.\t\t\t<\/li>\n
  • \nWith:<\/strong>
    \nReeve Carney, Andr\u00e9 De Shields, Amber Gray, Eva Noblezada, Patrick Page, Bella Brown, Madeline Charlemagne, Allie Daniel. \t\t\t<\/li>\n<\/ul>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

    Showcasing a 2025 performance in London’s West End, the movie transmits how “Hadestown” is as much a happening as a musical.<\/p>\n","protected":false},"author":1,"featured_media":4904,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[2],"tags":[3909,3910],"class_list":["post-4905","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-film","tag-hadestown","tag-hadestown-the-musical"],"yoast_head":"\n\u2018Hadestown: The Musical\u2019 Review: Captures the Crowd-Pleasing Vibrance of the Mythological New Orleans-Meets-Rock Opera Stage Show - Relocation Observer<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/relocationobserver.com\/?p=4905\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018Hadestown: The Musical\u2019 Review: Captures the Crowd-Pleasing Vibrance of the Mythological New Orleans-Meets-Rock Opera Stage Show - 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