{"id":4937,"date":"2026-07-26T07:34:54","date_gmt":"2026-07-26T07:34:54","guid":{"rendered":"https:\/\/relocationobserver.com\/?p=4937"},"modified":"2026-07-26T07:34:54","modified_gmt":"2026-07-26T07:34:54","slug":"hadestown-brings-broadways-underworld-to-the-big-screen-original-cast-members-and-creator-anais-mitchell-on-reconvening-for-a-smashing-cinema-event","status":"publish","type":"post","link":"https:\/\/relocationobserver.com\/?p=4937","title":{"rendered":"\u2018Hadestown\u2019 Brings Broadway\u2019s Underworld to the Big Screen: Original Cast Members and Creator Ana\u00efs Mitchell on Reconvening for a Smashing Cinema Event"},"content":{"rendered":"
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\n\tThe gods themselves get mostly shoved out of the picture in \u201cThe Odyssey,\u201d as has been noted by some filmgoers who wished Zeus or Poseidon got in on the action instead of just being talked about. But Hades, at least, has his day in another movie currently in theaters, which offers some serious interplay between men and immortals. It\u2019s \u201cHadestown: The Musical,\u201d the filming of one of the most acclaimed and successful Broadway musicals of the last decade. The hit show\u2019s cinematic translation is predicted to make around $9 million at the U.S. box office this weekend, which would put it behind only the theatrical opening of the \u201cHamilton\u201d film among grosses for a direct capture of a stage production. As it turns out, musical tragedy makes for perfectly fine summer counterprogramming after all, when the gods get to have their way.<\/p>\n

Read more Stephen King\u2019s \u2018Carrie\u2019 Series Sets October Release Date, Drops Horrifying New Trailer<\/a><\/p>\n

\n\t\u201cHadestown\u201d is not typical Broadway fare, of course: Andr\u00e9 Robin De Shields, who won a Tony in 2020 for playing the god Hermes, says he considers it a \u201cfolk opera.\u201d Nearly any description of the plot, which reenacts the ancient story of Orpheus and Eurydice, is going to make it sound a bit esoteric by modern tuner standards, even before tacking on Americana musician Ana\u00efs Mitchell\u2018s unusually flavored, sung-through score. And yet the show has a massive cult, especially but not entirely among young people, that is at least as feverish in adoring intensity as \u201cHamilton\u2019s.\u201d It can only grow with the introduction into theaters of director Brett Sullivan\u2019s brilliantly filmed adaptation, which is bound to draw untold numbers of newbies into its underworld, even as hardcore fans are bound to sign up for multiple trips before the movie\u2019s scheduled one week in theaters is over.<\/p>\n

\n\tOn the eve of the film\u2019s release, Variety<\/em> talked with Mitchell, Sullivan and several of the five original Broadway cast members who reunited for the movie \u2014 Reeve Carney, Eva Noblezada, Patrick Page and De Shields \u2014 about why \u201cHadestown\u201d seems to have found a permanent foothold in American culture and what went in to making this rendering such a surprisingly indelible cinematic experience.<\/p>\n

\n\tSays Mitchell, \u201cIn this film, there was a really beautiful collaboration between Rachel Chavkin (the stage director) and Brett from Steam Motion, who directed the film, and they did a lot of close work on the edits and figuring out how to present the story. There\u2019s so much emotional access to the characters because of the close-ups, and you can see things like a tear rolling down someone\u2019s cheek or someone\u2019s lip twitching that you wouldn\u2019t be able to see from the audience. But you also never lose sight of the fact that it\u2019s a stage show. There are enough shots where you\u2019re seeing the stage in context of the audience, and seeing the beautiful theater, which is the Lyric Theatre on the West End.\u201d Sullivan doesn\u2019t shy completely away from offering long shots that incorporate the enthusiastic crowd, or even reaction shots, but mostly he stays locked into what\u2019s happening on stage, so that it feels closer to a bona fide movie musical than something that sounds as reductionist as a \u201ccapture.\u201d<\/p>\n

\n\tThe five original Broadway principals \u2014 also including Amber Gray, as Persephone \u2014 got the old gang back together and went into the West End production five weeks before the film was shot in front of three live audiences. Performances were filmed in quick succession on a Friday night, Saturday afternoon and Saturday evening; there was also closeup filming done of some of the numbers while an audience was not present, to afford the cameras some views that would have spoiled things for paying ticketgoers.<\/p>\n

\n\tSays Reeve, who plays Orpheus, \u201cWatching the film, we can really feel the love that the creative team, including Brett and all the cameramen, have for the piece. Because the planning that went into it was a Herculean task, really. Every shot you see in the film, we only had one take at it. For the Friday night, Saturday matinee and Saturday evening performances, each time there were four to six cameras that were shooting simultaneously. And for each performance, the cameras were moved to an entirely different part of the theater. So the end result is that it looks so cinematic because (added up) it was like a 30-camera shoot.\u201d<\/p>\n

\n\tThere is some delayed gratification here. \u201cThere was a desire and an attempt to do this in the winter of 2022,\u201d says Carney, \u201cbecause Amber Gray, the first cast member to join the show, was about to leave the show, and so they were like, \u2018This is our only chance to capture it with all of you guys.\u2019 That didn\u2019t end up working at that time, so we didn\u2019t think it would ever happen. So when we got the call saying \u2018Hey, we have another chance to do this, but the only way this is gonna work is if we bring you guys over to London during this cast changeover that\u2019s happening,\u2019 we were really grateful, because having a second chance really lit a fire under everyone\u2019s butt to make sure we get this right.\u201d He was ultimately glad they ended up waiting. \u201cThere\u2019s something really magical about the Lyric Theatre in London that allowed for this capture to be something that I don\u2019t think it would\u2019ve been, exactly, at the Walter Kerr (in New York). The stage is three-quarters the size in London, which really lent itself beautifully to a cinematic experience.\u201d<\/p>\n

\n\tFor fans who have only lived with the cast album for the last seven years, getting to finally put a face to Patrick Page\u2019s beyond-baritone voice will be a revelation. But even those who saw one of his hundreds of performances will find something new in the camera\u2019s tight focus as he wavers on whether to let the mortal characters get their way or not.<\/p>\n

\n\t\u201cThe wonderful thing about the film is that it allows the audience member to participate in things that were always part of those performances, but which even sitting in the fourth or fifth row of the audience you might not catch,\u201d Page says. \u201cA close-up comes right in and reads the actor\u2019s thoughts. So that\u2019s where you have the depth of all of that experience of the five original players who have layers and layers of subtext and and relationship-building along with the words and the music. We always knew that was there, and I would sometimes try to tell other people who were performing in the show, \u2018Well, do you know what actually happens in that moment?\u2019 Because of course what actually happened in the moment only happened in my head, or between Amber\u2019s eyes and my eyes, or in Andre\u2019s turn of phrase, or whatever it was. And yet for us, those things were as real as the notations or the poetry.\u201d<\/p>\n

\n\tDe Shields insists the actors didn\u2019t consciously tone anything down to adjust for the cameras getting close in. \u201cIt\u2019s only in film that you have to be cautioned not to play to the camera, because in the theater the audience is the camera,\u201d says the show\u2019s Hermes. \u201cSo when the cameras were actually there, we didn\u2019t adjust any attitudes or any focus. We just had to do what we knew and what we had been feeling, in some instances, for two, three, four, five years.\u201d<\/p>\n

\n\tPage, being interviewed alongside De Shields, jumps in to say that he might have had his focus more tightly trained. \u201cNow that I\u2019m thinking, Andre, maybe the only difference is that when you\u2019re doing it eight times a week, you know exactly what you do at every moment. But perhaps there are times where you don\u2019t actually do it; you sort of pretend to do it. Whereas on film, you know, it\u2019s \u2018I\u2019ve gotta actually do this now or that damn camera\u2019s gonna catch me. I can\u2019t cheat.’\u201d<\/p>\n

\n\t\u201cI never cheated!\u201d protests De Shields.<\/p>\n

\n\t\u201cOh, I saw you,\u201d Page retorts, as they both laugh.<\/p>\n

\n\tNo relationship developed over the course of the original production quite like the one between Carney and Noblezada, who are now married. As they speak beside one another on their couch at home, with occasional cameos from their dog, Noblezada is wearing a \u201cReeva\u201d T-shirt, reflecting how much fans of the couple have enjoyed the real-life shipping that went on off-stage as well as on it.<\/p>\n

\n\t\u201cReeva\u2026 Somebody gave this to me as a gift,\u201d she says. \u201cI love it.\u201d<\/p>\n

\n\t\u201cWe sleep in these shirts at night,\u201d cracks Carney.<\/p>\n

\n\t\u201cI did not sleep in this, just to be clear,\u201d says Noblezada, setting the record straight. \u201cI mean, we\u2019re very grateful that people love the show and are big supporters of Reeva, individually and also together, because without that support we couldn\u2019t really do what we do.\u201d<\/p>\n

\n\tIt\u2019s safe to say they did not let the fact that \u201cHadestown\u201d is a romantic tragedy stand as a bad omen for their own burgeoning relationship?<\/p>\n

\n\t\u201cI don\u2019t view \u2018Hadestown\u2019 as a tragedy,\u201d counters Carney. \u201cI view it as a piece designed to empower and embolden people to make a different decision and to choose a different ending. I see it as very optimistic and it\u2019s a very hopeful piece, even though it is based upon a Greek tragedy. Everyone can have a different perspective, which is great, too. But I think that\u2019s part of why young people keep coming back to it: I think deep down they know that they can change the world. I think it resonates with all age groups,\u201d he adds, \u201cbut in terms of it resonating with young people in particular, I think it\u2019s because it\u2019s important to not forget who you were as a child, in order to make the changes in the world that our world so desperately needs.\u201d<\/p>\n

\n\tCarney admits he did spend a moment or three thinking about how it might be difficult to revisit the intensity of the show after being out of it for a good spell. \u201cYes, there was a bit of that hesitation,\u201d he admits. \u201cI was the last one to leave the show, and even for me it had been a year and a half between when I left the show and coming back into it. But I had a lot of amazing communication with Rachel Chavkin and Ana\u00efs Mitchell about what exactly they wanted for this version of \u2018Hadestown,\u2019 because we had all performed such different versions of the character over the years. And that was really crucial in terms of getting all of us on the same page, because I knew we only had three performances to capture this. Once I got locked in with that, the only thing I said to them is, \u2018I think I know where we\u2019re going with this, and if that\u2019s the case, I cannot<\/em> have the haircut that I had in 2019.\u2019 There\u2019s so much that costume and hair and makeup informs to the audience about a character before they even say a word. So I was like, \u2018All right. I know what we\u2019re doing \u2014 but I gotta change the hair.\u2019 That was my only non-negotiable.\u201d<\/p>\n

\n\tNoblezada, who has many of the most emotionally wreching moments in the show, wasn\u2019t worried about any difficulty in finding all of that again after having had an extended break. \u201cThe good thing is, we don\u2019t have to start from scratch. We have so much to pull from because the inner world of \u2018Hadestown\u2019 that we live in is so rich and so real. I mean, anybody who\u2019s facing those issues would react with those emotions. And so you just have to know how to drop into your character\u2019s body, and the world of \u2018Hadestown\u2019 \u2014 the lyrics, the blocking, the story, the pacing of it all \u2014 does the rest of it for you. I mean, it\u2019s really like you get on a rollercoaster, and you know that you\u2019re gonna have that almost vertical drop at a really high amount of speed, and you just have to strap down and lock in.<\/p>\n

\n\t\u201cIt\u2019s not difficult for me to get emotional,\u201d Noblezada adds. \u201cI\u2019m a very emotional person. I\u2019m a quintuple Pisces. I\u2019m a rising Gemini, with the two faces, which means I was destined to be an actor. But I also think that Eurydice\u2019s story has to be deeply emotional and tragic because she falls in love, and then everything\u2019s taken away from her, and then she makes a really big choice that affects her life and her future. So it\u2019s not easy to feel those every night, but it\u2019s easy to get into<\/em> it.\u201d<\/p>\n

Read more Ryan Gosling to Star in Marvel\u2019s Ghost Rider Movie<\/a><\/p>\n

\n\tWhatever adjustments the stage-to-film translation did or didn\u2019t require of the cast, it was a normal day\u2019s work for Sullivan, who is certainly foremost among the directors doing these live stage captures for cinematic special engagements. He\u2019s done about a dozen of them to date, including big-screen versions of \u201cMiss Saigon\u201d (on which he actually worked with Noblezada, 10 years ago), \u201cWaitress,\u201d \u201cKinky Boots,\u201d \u201cFrozen,\u201d \u201cAladdin,\u201d \u201cKiss Me Kate\u201d and \u201cStarlight Express.\u201d \u201cLiterally tomorrow I deliver the \u2018Stranger Things\u2019 musical, which we shot on Broadway for Netflix. That was almost the other end of the spectrum, a very effects-heavy show, and trying to relay live magic onto the screen was a different challenge.\u201d<\/p>\n

\n\tSullivan has seen the change in attitude in the industry from a time in which there were questions about whether cinematic translations would hog all the interest that might otherwise go to keeping the ongoing stage productions going. \u201cWe tried it out with \u2018Newsies\u2019 with Disney quite a while ago [in 2017] and Tom Schumacher, who was heading up Disney theatrical, was like, \u2018Let\u2019s try this and see what happens.\u2019 As it turns out, when the film did its event cinema thing, they got another couple of tours booked off the back of it just because the interest just got so wide again. That was a little bit of a proof in the pudding that, hey, these things can actually get the news out there, so to speak, and these things can co-exist.\u201d<\/p>\n

\n\tSome of the challenges in doing a \u201ccapture\u201d are more obvious than others. \u201cI mean, when you go to the theater, you\u2019re basically watching a wide shot all night, and your eyes can go wherever they want to. And we\u2019re making choices for you for the screen, including who to look at, at what particular point in time, through the editing or the close-ups. ?\u201d Knowing full well that obviously it\u2019s a live thing, you want to honor that and be truthful to the show as much as possible. But there are some film conventions that we have to lean into. It\u2019s a dance, isn\u2019t it?<\/p>\n

\n\t\u201c\u2018Stop Making Sense\u2019 for me was the film that made me do what I do,\u201d the director continues. \u201cAnd I always wondered when I watched that, when I was probably 13, how did they get those shots close on stage, as well as the wide shots? I studied that thing backwards, and really that has become the template for me artistically: We need to see the actor\u2019s eyes, and we also need to see the spectacle. \u2018Stop Making Sense\u2019 did that just so cleverly, so that\u2019s been my benchmark for how to convey something live in an interesting way.\u201d<\/p>\n

\n\tOf what is unique about capturing \u201cHadestown,\u201d Sullivan says, \u201cThe single set helped us, because the set doesn\u2019t have traditional wings. The band is taking the space of traditional wings in a theater, which is great. It means we can shoot across, which gave us a sense of, like, the camera\u2019s not always at the front. We\u2019re getting into the sides, which helped with kind of the visual interest. And we have a lot of deep two-shots where there\u2019s someone in the foreground and someone in the background, and we\u2019re racking (focus) between the two. I was like, \u2018OK, let\u2019s reduce the cuts somehow. Let\u2019s find the angles where we\u2019ve always got a background person, or we\u2019ve always got connections.\u2019 So there\u2019s all working in triangles, where someone\u2019s listening and reacting to what the other person is singing, and we can try and make that visually interesting without cutting. So a lot of it was trying to search for these deep twos when we were designing the shots.\u201d<\/p>\n

\n\tOne unexpected adjustment that had to be made: allowing for Page\u2019s injury to his foot, which has him wearing a large boot and carry a cane for the entirety of the show. It\u2019s not something that the director shoots around; he and Persephone still have a tender dance number toward the end of the show.<\/p>\n

\n\t\u201cPatrick had a wild ride,\u201d says Mitchell. \u201cYou might have heard that he was injured during the rehearsal process, and that\u2019s why he ended up in the live capture with this big boot on one of his legs. All of the actors actually were returning to the role after several years away from it, and partly they were falling back into their muscle memory, and then partly they had to kind of come at it in a new way, but most of all Patrick, because literally his dance moves had to be different and his blocking hit different because of his situation. But I feel like you feel them all authentically in their selves at the time of the taping, taking on these characters again with the added experience of six years of life that happened in between when we opened on Broadway and 2025.\u201d<\/p>\n

\n\tWhat\u2019s the appeal that leads to multiple viewings of the stage production (and now, presumably, the film)? Sullivan says: \u201cI would have to say that Anais\u2019 music is just so good that that\u2019s people\u2019s entry point into it; the staying power of those songs is so effective. I mean, the last song in the show, I tear up every single time I hear it \u2014 that we\u2019re gonna sing it again, even though we know the ending. \u2026 And there\u2019s some universal truths that run through it. Some of it seems political as well about how the times have kind of shaped some of these things, when you listen to it. \u2018The Wall\u2019 was written before the whole discourse about the wall (that subsequently became a focus in real life for Donald Trump, as it prophetically was for Hades in the show). There\u2019s a lot of things that resonate right now in the world as we search for the truth in various means.\u201d<\/p>\n

\n\tPage feels one moment in the script sums up the pull of the show\u2026 and it\u2019s not one of Hades\u2019 lines. \u201cI think it\u2019s in that one little toast of Orpheus\u2019. I think it\u2019s the tension between \u2018the world we dream about and the one we live in now,\u2019 and it\u2019s that tension that we live in that I think attracts everyone to it \u2014 the possibility, and how do we get there? Because that tension isn\u2019t somebody\u2019s fault. But it\u2019s a real thing, a real conflict. It\u2019s a real paradox between what we wish could be and what is. And that, I think, is what keeps people in it. What do you<\/em> think it is?\u201d<\/p>\n

\n\tSays De Shields: \u201cTo speak in the current vernacular, I think the audience feels, \u2018I\u2019m finally being seen.\u2019 Simply that.\u201d<\/p>\n

\n\tMitchell found herself being surprised by elements of her own show when she was able to suddenly study them on immaculately captured film. \u201cI\u2019ve seen it so many times that it\u2019s hard to get a response sometimes because I know it so well,\u201d she allows. \u201cBut there are moments that hit me different emotiuonally. Like, this version of Eva singing \u2018Flowers\u2019 feels so raw and huge and intimate. That felt like something new. And then I guess, there\u2019s something about the fact that when you see it on film, you\u2019re in the story, but then you\u2019re also in the experience of the audience experiencing the story, you know? That feels like the story is not just the story; the story is what it has come to mean for people.<\/p>\n

\n\t\u201cI\u2019ve seen the show a million times, but there were little things that struck me, like the way that a shadow of a character hits the set in a certain moment, or the subtle choreography of the Fates or the workers in the background when they\u2019re kind of listening to the principal actors, and they\u2019re moving in a way that supports the emotion of the singer. It\u2019s subtle, but it\u2019s always present, and I found it easier to focus on that in the film version. Because a lot of times I\u2019m just obsessed with words. I\u2019m, like, always, \u2018How is it being phrased? What does the language sound like?\u2019 But there\u2019s this whole \u2018nother level of what\u2019s going on that is visual, image-based, impressionistic in a way.<\/p>\n

\n\t\u201cI think that sort of hit home a little more with this film: a sense of mystery for me, again, where I\u2019m like, \u2018Oh, I have no idea what this thing is.\u2019 As many years of my life as I\u2019ve put into it, I have no idea what this thing is or what it means to people. It\u2019s got its own life. It\u2019s moving around the world on its own legs.\u201d<\/p>\n

\n\tMitchell\u2019s key points of identification with her handiwork have shifted. \u201cWhen I started writing it in my early 20s. I for sure identified with Orpheus at that time, and Eurydice, and the idealism. I still do at some level, but I\u2019m now in my 40s and I identify much more with the story of the older marriage [between Hades and Persephone] \u2014 is there a chance for redemption with these people that have been together for years and years? And I relate to the role of Hermes, who has to retell this sad story again and again and be the storyteller. There\u2019s something about all those characters that are present in this story that has allowed me to stay alive with it, from what I passed through my early 20s to being like, \u2018I\u2019m still interested in it.\u2019 Like, I\u2019m still interested, now, in what\u2019s going through Hades\u2019 head here.\u201d<\/p>\n

\n\tThe show opened on Broadway in 2019, but in a different way of thinking, it is celebrating both a 10th anniversary and 20th anniversary this year. It was 2016 when \u201cHadestown\u201d first opened off-Broadway, but 2006 when Mitchell first began doing an early version of it with musician friends in folk clubs, like McCabe\u2019s in Santa Monica.<\/p>\n

\n\t\u201cSomeone else mentioned that to me the other day \u2014 the 2016, 2006 (anniversary) thing \u2014 and it hadn\u2019t crossed my mind,\u201d says Mitchell. \u201cIt\u2019s crazy to me to think that I\u2019ve been living alongside of this piece in one way or another for 20 years, which is almost half my life. But the story for me is that it\u2019s still alive, and the fact that we get to keep telling this story night after night on Broadway and the West End, and that we now have this film document so that we can reach folks who wouldn\u2019t make it to the theater otherwise. It\u2019s not a reenactment of what it was in 2016. Obviously the text is evolving less than it did 10 years ago, but as a piece of theater, I think people are still finding new ways to present it. And actually, a lot of young people are putting it on. We released the rights for high schools, and that\u2019s<\/em> been really moving, to see young people find themselves in the story and in the characters. I get all kinds of requests from high schools, like, \u2018Can we have nine Fates?\u2019 \u2018Can we have 100 workers?\u2019 \u2018Can we have everyone non-binary?\u2019 It\u2019s very cool to see what they\u2019re doing.\u201d<\/p>\n

\n\tCarney has a thought about what resonates for all demographics about the show. \u201cAs actors, one of our jobs is to constantly be expanding our capacity for empathy,\u201d he says. \u201cBecause there are times when we can draw from our own life, but there are times when you may not have exactly experienced something, but if you can empathize with it, then you can put that into the character. I think empathy is something we need more of, and I think the show, hopefully, will continue to encourage more of that. Because I, for one, do not think that empathy is\u2026 what is the word that was used recently?\u201d He searches for the language Elon Musk made famous. \u201cI don\u2019t think empathy is a detriment in any way, or a weakness.\u201d Even in hardboiled Hadestown, that would probably get a murmur of assent.<\/p>\n

Read more \u2018Coyote vs. Acme\u2019 Director and Star Lana Condor on Finally Showing Their Film to the Fans at Comic-Con: \u2018The Fight Was For a Good Reason\u2019<\/a><\/p>\n<\/div>\n<\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

Original cast members from ‘Hadestown,” as well as creator Anais Mitchell, talk about making the movie adaptation of the Broadway show now in theaters.<\/p>\n","protected":false},"author":1,"featured_media":4936,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[33],"tags":[3934,3935,3936,3937],"class_list":["post-4937","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-music","tag-anais-mitchell","tag-hadestown-the-musical-2","tag-patrick-page","tag-reeve-carney"],"yoast_head":"\n\u2018Hadestown\u2019 Brings Broadway\u2019s Underworld to the Big Screen: Original Cast Members and Creator Ana\u00efs Mitchell on Reconvening for a Smashing Cinema Event - 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=4937\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u2018Hadestown\u2019 Brings Broadway\u2019s Underworld to the Big Screen: Original Cast Members and Creator Ana\u00efs Mitchell on Reconvening for a Smashing Cinema Event - 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