FRESH TAKE ON HADESTOWN FEATURING EXCITING NEW TALENT OPENS AT WATERBURY'S PALACE THEATRE
By Kiersten Bjork (October 4, 2024)
The national tour of Hadestown, which played at The Palace Theatre in Waterbury October 3-6, is a breathtaking new interpretation of the musical that took Broadway by storm in 2019. With book, music, and lyrics by Anaïs Mitchell, this second national tour of Hadestown treads new ground as the first version of the production not to use the iconic turntable, and without the visually dynamic elevator that stands out in the Broadway production. Despite these changes to the show, the second national tour makes its mark as a stunning new installment of the musical that theatre fans have come to know and love.
Hadestown intertwines two iconic Greek myths into an epic love story told across the realms of gods and men. The tales of Hades and Persephone and Orpheus and Eurydice are reimagined amidst a somewhat post-apocalyptic, somewhat depression-era timescape. As Hades and Persephone’s love fails, the world as we know it falls into disarray. Spring and Fall are practically nonexistent, harvests die, people starve, and storms come on. In the turmoil of that world, Orpheus and Eurydice meet and fall in love, only to be torn apart by the conflicting desires and distractions of their lives. What ensues is a beautifully tragic yet touching tale, set to a gorgeous score, which sweeps the audience off their feet from the very first notes.
Keenan Tyler Oliphant directs the current touring production, with a new original tour concept by Rachel Chavkin, who also developed and directed the original Broadway production. The show features choreography by T. Oliver Reid, based upon the original choreography by David Neumann. With the changes made to the set, there are new elements of choreography in this production, particularly in the moments when the turntable would have been used. The movement choices in those moments are visually dynamic and stand in well for what was formerly done by the moving scenic elements. Cole P. Abod serves as music director, with Cody Owen Stine as music supervisor, Liam Robinson as music consultant and on vocal arrangements, Keith Levenson as music contractor, and Michael Chorney and Todd Sickafoose on arrangements and orchestrations.
The national tour of Hadestown, which played at The Palace Theatre in Waterbury October 3-6, is a breathtaking new interpretation of the musical that took Broadway by storm in 2019. With book, music, and lyrics by Anaïs Mitchell, this second national tour of Hadestown treads new ground as the first version of the production not to use the iconic turntable, and without the visually dynamic elevator that stands out in the Broadway production. Despite these changes to the show, the second national tour makes its mark as a stunning new installment of the musical that theatre fans have come to know and love.
Hadestown intertwines two iconic Greek myths into an epic love story told across the realms of gods and men. The tales of Hades and Persephone and Orpheus and Eurydice are reimagined amidst a somewhat post-apocalyptic, somewhat depression-era timescape. As Hades and Persephone’s love fails, the world as we know it falls into disarray. Spring and Fall are practically nonexistent, harvests die, people starve, and storms come on. In the turmoil of that world, Orpheus and Eurydice meet and fall in love, only to be torn apart by the conflicting desires and distractions of their lives. What ensues is a beautifully tragic yet touching tale, set to a gorgeous score, which sweeps the audience off their feet from the very first notes.
Keenan Tyler Oliphant directs the current touring production, with a new original tour concept by Rachel Chavkin, who also developed and directed the original Broadway production. The show features choreography by T. Oliver Reid, based upon the original choreography by David Neumann. With the changes made to the set, there are new elements of choreography in this production, particularly in the moments when the turntable would have been used. The movement choices in those moments are visually dynamic and stand in well for what was formerly done by the moving scenic elements. Cole P. Abod serves as music director, with Cody Owen Stine as music supervisor, Liam Robinson as music consultant and on vocal arrangements, Keith Levenson as music contractor, and Michael Chorney and Todd Sickafoose on arrangements and orchestrations.
The actor whose performance impressed me the most in this production is Nickolaus Colón as Hades. Now, this isn’t to say that the cast is not replete with talent, as they most certainly are. The second national tour boasts a very well-cast group who gave it their all in the opening city of their tour. But Colón has something special. I have had the pleasure of seeing Hadestown three times prior to this: two different Broadway casts, one being the original Broadway company, and the first national tour last year. In each production following the original company, the actors playing Hades were great, but it felt like each actor was trying to achieve something akin to what Patrick Page had already done, to varying degrees of success. Colón, however, isn’t trying to be Page, and as a result, has created a fascinating new portrayal of the lord of the Underworld that works – and works well. There are vocal changes to the role, most importantly, places where Colón goes up instead of down, but that isn’t to say he doesn’t have a gorgeous bass voice. He still hits plenty of those lovely low notes, but the changes to the role, presumably made to fit this specific actor, have allowed for a fresh take on a character that Page has overshadowed other actors on previously. Colón’s performance is his own, thus allowing him to truly shine in this track. I would see this tour again just to witness his choices as this character for a second time. He’s sharp and witty, nonchalant and sly, cruel and cunning – he’s presented a heartbroken man with incredible power up his sleeves who has finally leaned into the “what comes next” after you have to come to terms with the fact that the one you loved no longer seems to want you. It’s a brilliant performance, and Colón will certainly be one to watch as his career continues on from here.
Hades’ counterpart, Persephone, goddess of Spring, is played by Namisa Mdlalose Bizana. Bizana balances the ever-shifting nature of Persephone with skill, embodying both the wild and joyous springtime version of the goddess, as well as the dark and cutting version found in the Underworld. Her rendition of “Our Lady of the Underground” is particularly well done.
Megan Colton shines as Eurydice from her very first entrance. Eurydice has an edge to her, something that comes from experiencing the world in all of its pain and hardships. Colton masterfully hones that edge, wielding it at times with defensiveness, and yet at other times allowing it to inform the moment in which that edge is dulled, like when she first allows Orpheus into her life. Colton possesses a voice that shifts between two distinct sounds in this particular role: a powerful and full sound and also a soft, pretty sound. She shifts between these two places in her voice well, utilizing them to dig into different emotional moments in the show. However, it was occasionally hard to hear the softer moments, but that may be due to sound balancing issues.
Opposite Colton is Bryan Munar as Orpheus. Munar is sweet and endearing as the lovestruck Orpheus and has the voice to really take on this role to the fullest extent. His “Wait For Me” and “If It’s True” are breathtaking, and the simplicity and control of the different “Epic” numbers is impressive.
Jaylon C. Crump plays Hermes, the messenger god and narrator of Hadestown. Crump adds just the right amount of style and spunk to Hermes, taking what prior performers have done with the role and building upon it with their own personal touch. I really enjoyed the vocal stylings and choices that they incorporate throughout, and I particularly liked the dynamic between Crump and Bizana’s Persephone. The two portray a great bond, with fun little moments like their simple yet humorous interactions at the top of Act II.
Hades’ counterpart, Persephone, goddess of Spring, is played by Namisa Mdlalose Bizana. Bizana balances the ever-shifting nature of Persephone with skill, embodying both the wild and joyous springtime version of the goddess, as well as the dark and cutting version found in the Underworld. Her rendition of “Our Lady of the Underground” is particularly well done.
Megan Colton shines as Eurydice from her very first entrance. Eurydice has an edge to her, something that comes from experiencing the world in all of its pain and hardships. Colton masterfully hones that edge, wielding it at times with defensiveness, and yet at other times allowing it to inform the moment in which that edge is dulled, like when she first allows Orpheus into her life. Colton possesses a voice that shifts between two distinct sounds in this particular role: a powerful and full sound and also a soft, pretty sound. She shifts between these two places in her voice well, utilizing them to dig into different emotional moments in the show. However, it was occasionally hard to hear the softer moments, but that may be due to sound balancing issues.
Opposite Colton is Bryan Munar as Orpheus. Munar is sweet and endearing as the lovestruck Orpheus and has the voice to really take on this role to the fullest extent. His “Wait For Me” and “If It’s True” are breathtaking, and the simplicity and control of the different “Epic” numbers is impressive.
Jaylon C. Crump plays Hermes, the messenger god and narrator of Hadestown. Crump adds just the right amount of style and spunk to Hermes, taking what prior performers have done with the role and building upon it with their own personal touch. I really enjoyed the vocal stylings and choices that they incorporate throughout, and I particularly liked the dynamic between Crump and Bizana’s Persephone. The two portray a great bond, with fun little moments like their simple yet humorous interactions at the top of Act II.
The trio of Fates are played by Katelyn Crall, Miriam Navarrete, and Alli Sutton. The Fates have always been some of my favorite roles in this show, and these three are no exception. There is such gleeful chaos to these deities, portrayed excellently by Crall, Navarrete, and Sutton. They delight in their jobs as weavers of fate, both in the moments of joy and in the moments of sadness or fear. The three performers look like they are having such a fun time in these tracks, and it helps to elevate the mischief and mayhem that the Fates cause in the lives of the mortals in the story.
Rounding out the company are Randy Cain, Miracle Myles, Kaitlyn O’Leary, Mikaela Rada, and Joe Rumi, who make up the ensemble, or “Workers Chorus.” Jamir Brown (Assistant Dance Captain), Ricky Cardenas, Michelle E. Carter (Dance Captain), and Julia Schick serve as the swings for the production. The Workers tell the story of the show beautifully through dance, using movement and shape to evoke changes in seasons and scenery, the work taking place on the wall in the Underworld, and more.
Rounding out the company are Randy Cain, Miracle Myles, Kaitlyn O’Leary, Mikaela Rada, and Joe Rumi, who make up the ensemble, or “Workers Chorus.” Jamir Brown (Assistant Dance Captain), Ricky Cardenas, Michelle E. Carter (Dance Captain), and Julia Schick serve as the swings for the production. The Workers tell the story of the show beautifully through dance, using movement and shape to evoke changes in seasons and scenery, the work taking place on the wall in the Underworld, and more.
Scenic design by David L. Arsenault (original Broadway scenic design by Rachel Hauck) establishes an interesting new take on the world of Hadestown. As previously mentioned, the second national tour is the first iteration of the show to not use the turntable. Neither tour has had the elevator that the Broadway production employs, but this tour also has a different take on the set than the first national. The main difference is that the path into the underworld has been changed, going from the “jaws of death” approach that could swallow Eurydice or Hades and Persephone in the first national tour, to a descending staircase that employs lights and theatrical fog for the descent in this tour. While I prefer the theatricality of the elevator, and even the “jaws” approach, this version does still work, albeit with less drama. Overall, I’ve always liked the scenic design for Hadestown, and the tour continues that concept with the warm tones, various levels, balconies, and stairs, and simple, transportable scenic elements like chairs and tables that the performers manipulate as needed.
Lighting designer Aja Jackson (original Broadway lighting design by Bradley King) evokes a similar feel to Broadway, sticking with warm tones and colors for the majority of the show. Due to the smaller playing space of the tour versus the Broadway production, the five practical swinging lights used in “Wait For Me” are reduced to three for this tour, with two additional lights manually manipulated by the workers. This is still effective, but again, loses a bit of the dramatic theatricality of the larger scale production.
Costumes by designer Michael Krass are beautiful, and stick close to Broadway, to the best of my recollection. The worker costumes in the Underworld are some of my favorites, with the distressing work done on them, and I also love the layering of Eurydice’s costume, from her dress to her coat to her kerchief. Hair and wig design by Jennifer Mullins builds upon the looks of the characters, tying everything together.
Co-sound design by Kevin Steinberg and Jessica Paz is solid, though there were some moments, especially early on in the show, where I had a hard time hearing a few of the softer lines and lyrics. There were also some microphone issues towards the end of the production, with mics going out for periods of time before suddenly popping back on mid-number in full force, but this may be due to an equipment issue.
Lighting designer Aja Jackson (original Broadway lighting design by Bradley King) evokes a similar feel to Broadway, sticking with warm tones and colors for the majority of the show. Due to the smaller playing space of the tour versus the Broadway production, the five practical swinging lights used in “Wait For Me” are reduced to three for this tour, with two additional lights manually manipulated by the workers. This is still effective, but again, loses a bit of the dramatic theatricality of the larger scale production.
Costumes by designer Michael Krass are beautiful, and stick close to Broadway, to the best of my recollection. The worker costumes in the Underworld are some of my favorites, with the distressing work done on them, and I also love the layering of Eurydice’s costume, from her dress to her coat to her kerchief. Hair and wig design by Jennifer Mullins builds upon the looks of the characters, tying everything together.
Co-sound design by Kevin Steinberg and Jessica Paz is solid, though there were some moments, especially early on in the show, where I had a hard time hearing a few of the softer lines and lyrics. There were also some microphone issues towards the end of the production, with mics going out for periods of time before suddenly popping back on mid-number in full force, but this may be due to an equipment issue.
The second national tour of Hadestown is a fresh take on a production that has really taken root in the popular theatre scene these days. With exciting new talent and an intriguing new look, the tour is a real delight. Experience the production for yourself – see the second national tour of Hadestown on their route later this year or in 2025. Dates and venues can be found at hadestowntour.com.
Hadestown ran October 3-6, 2024, at The Palace Theatre in Waterbury, CT. Learn more about upcoming Palace events online at palacetheaterct.org or by calling the Box Office at (203) 346-2000. Broadway production photos of Hadestown courtesy of: hadestown.com/photos
Kiersten Bjork is a professional theatremaker, performer, and reviewer (Connecticut Critics Circle) from Branford, CT.
Hadestown ran October 3-6, 2024, at The Palace Theatre in Waterbury, CT. Learn more about upcoming Palace events online at palacetheaterct.org or by calling the Box Office at (203) 346-2000. Broadway production photos of Hadestown courtesy of: hadestown.com/photos
Kiersten Bjork is a professional theatremaker, performer, and reviewer (Connecticut Critics Circle) from Branford, CT.