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| The Cast of Hadestown Credit Even Zimmerman |
When I first hearthat “Hadestown” was a sung-through
musical, meaning one song segues into another with little in the way of
narrative, it sent up a red flag. As one
afflicted by auditory processing disorder (APD) who cannot understand sung
lyrics, I wondered what lie ahead if I decided to see the show.
I
will admit Act One, which opened animatedly with “Road To Hell,” led by the poised
and electric Rudy Foster as Hermes, was a bit of a struggle for me to follow.
Aware of the myth of how (Persephone) Namisa Mdlalose Bizana) came to inhabit
the underworld, the sung narrative rehash of the story line escaped me.
But
all was not lost on me. I took great delight in the marvelous trombone sounds
of Daniel Atkinson that opened the show. As an ex-trombonist, I came to
appreciate the excellent sound and tone of the instrument that had me sitting
on the edge of my chair rapt in amazement.
The
rest of the seven-piece musical ensemble, visibly seated on both sides of the
stage, were also no slouches when it comes to virtuosity. They performed the mixed
genre repertoire of 36 songs varying from American folk, New Orleans jazz and
Dixieland to blue and industrial rock.
With
the dynamic Foster leading off the show, the scene shifted to Eurydice (Hawa
Kamara), whose radiant voice never fades as we follow her through the emotional
storms, loves, hopes and despair. At first resistant to Orpheus’ advances, she
soon swoons under the beauty of his voice, his unfinished song a work in
progress, a theme mentioned several times throughout the show.
You’d expect Orpheus, in ancient Greek mythology, celebrated as the greatest master of the lyre, one who was able to enchant even the wild animals and trees, to be quite impactful. And Contreras is despite his character having a rather naïve and flighty manner.
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| Photo by: Evan Zimmerman for MurphyMade. |
There’s
no mistaking Contreras’ wonderfully flute-pitched voice as one gifted by the
gods. (Some claim that Apollo was Orpheus’ father, so you know that someone
with a great voice had to be cast as famous Greek bard and poet).
But
what he possessed in musicianship he also displays in leaps and bounds in his
love for Eurydice. Their relationship is most tender in the sweetly romantic “All
I’ve Never Known,” which caresses the
theater audience in Act One with heart-warming sound.
His
was an attraction that had him descend into the bowels of Hades in Act Two to rescue
her from the servitude of the despotic Hades (Nickolaus Colon), who posses one
of the purest and deepest bass voices I ever encountered.
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| Hadestown North American Tour, 2025. | Photo by: Evan Zimmerman for MurphyMade |
Very
familiar with the Greek myth surrounding Orpheus and Eurydice, I was able to
comprehend Act Two much better. me. It also has, in my mind, some of the
musical’s greatest numbers such as “If It’s True,” “Flowers,” and “Road to Hell,”
which begins and closes the show.
Impressed
with the powerful voice of Mdlalose Bizana (and her antic choreographed snippet
so amusingly created by T. Oliver Ried), I was disappointed to hear over the
public address system that she would be replaced in Act Two by her understudy, Miriam
Navarette. Ironically, Navarette opened Act Two with “Our Lady of the
Underground,” a masterly rendition that expelled any misgivings I may have had
as to her abilities.
It’s
difficult to digest the fact that the music, lyrics and book are all attributed
to a single persona, but Anais Mitchell accomplished this remarkable feat. The
show went on to win eight 2019 Tony Awards (including Best Musical and Best
Original Score) and the 2020 Grammy Award for Best Musical Theater.
The
show opened on Broadway in 2019 at the Walter Kerr Theatre, where it’s still
playing and setting the record for the longest running show in the history of
that theater.
Currently,
enjoying a national tour, the show is at the Benedum Center in Downtown
Pittsburgh, part of the Pittsburgh Cultural Trust’s PNC Broadway in Pittsburgh
Series.
From
the spontaneous knowing responses at crucial moments, many of Tuesday’s opening
night audience, nearly at full house capacity, seems to have been aware of the
musical beforehand. I’m guessing that it was either by having seen it in New York,
on tour or through the 2026 film that premiered at the Tribeca Film Festival in
June 2026 and had a limited theatrical release in North American cinemas
starting July 24, 2026.
While
the dual romances between Hades and Persephone and Eurydice and Orpheus are the
keystones of the musical, it also touches on more universal themes such as worker
exploitation, climate change, demagoguery, and environmental degradation. On a
human level, it also broaches on the healing power of art, hope and love, the
act of trying, and on doubt versus faith.
Keenan
Tyler Oliphant directs this ancient mythological story now adapted to serve the
mythos of contemporary times. The renowned American mythologist, Jaseph
Campbell, would have loved it. And, after much thought, so did I.
Hadestown”
is at the Benedum Center in Downtown Pittsburgh, through November 1. For
tickets, phone 412-456-666 or visit trustarts.org.
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