Review: Touring 'Hadestown' Rivals Broadway Original

Not often does a touring cast rival the original Broadway cast, but in many ways the National Tour of "Hadestown" does just that.
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The Tony Award-winning musical based on the classic story of Orpheus and Eurydice was a sensation when it landed on Broadway in 2019, and rightly so. Conceived and staged differently than a standard modern musical, "Hadestown" gave audiences something fresh and invigorating, and still dazzles packed houses in the Big Apple.
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With music, lyrics, and a book by singer/songwriter Anais Mitchell, the story tells the tale of the young and naïve Orpheus (Nicholas Barasch), who swiftly falls for Eurydice (Morgan Siobhan Green), a newcomer to town. A penniless poet, Orpheus doesn't impress Eurydice all that much, but his earnestness and desire to write a song that will bring life to their little valley charm her, and soon enough she is in love as well.
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But their small town/village has a history that includes none other than Hades (Kevyn Morrow), who comes calling for his wife, Persephone (Kimberly Marable), every six months. When she's not there, cold and hardship overtake the town. When she returns, it is Spring once again, with abundance everywhere.��
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After Persephone's brief return, Hades comes early to bring her back to Hadestown (read: Hell), but is struck by Eurydice's beauty and innocence. He leaves to go back home, but he is clearly drawn to the girl.
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As Orpheus obsessively works on his song that will bring springtime year-round, Eurydice tries to find food and comfort, but it is difficult. When she is offered the chance to go to Hadestown, where she will have a warm place to rest her head, she considers it. She is torn between her need for shelter and her love for Orpheus, but he is so focused on his song that he doesn't hear her call; so she goes. When he discovers what she has done, he immediately knows he must go after her.
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"Hadestown" is told differently from a lot of standard musical fare. With moments of breaking the fourth wall (almost as if you're at a concert), a narrator that guides you through the trials and tribulations of the characters (Levi Kreis as Hermes), and a plot that is mostly sung-through, it's unlike anything you've seen.
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The staging of the touring version differs slightly from the Broadway show – most noticeable is the absence of a center stage elevator that brings some characters down to Hadestown. To accommodate different theater spaces, the "elevator" is shown at the back of the stage via a wall that splits in two horizontally. It still works.
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The lighting, choreography, and set design are gorgeous, and give audiences a different sort of spectacle. Part New Orleans balcony-front, part local bar, as well as an ironworks version of Hell, the set can change on a dime just by a shift in light and shadow. It's wondrous to experience.�
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But it is the actors that truly make this show sing.
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While Andre De Shields won a Tony Award for his dynamic portrayal of Hermes on Broadway, singer/songwriter Levi Kreis puts his own spin on the role and fully makes it his own. A little more dangerous and slick, Kries saunters and seduces as the narrator of the piece. He's spectacular.
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Kevyn Morrow as Hades brings his smooth baritone to the piece, also giving his character a sexy, seductive nod. While not as dangerous as Patrick Page's original performance, I enjoyed his vocal stylings more.
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Marable as Persephone is a spitfire and often brings the house down with her vivacious presence and vocals. The Fates (played by Belen Moyano, Bex Odorisio, and Shea Renne) are perfection as the temptresses of the story, offering up the angel/devil choices to the characters as they contemplate the difficult choices ahead.

And then there are our two leads. Green's voice is a wonder as Eurydice. While she plays it a but tougher than Eva Noblezada did in New York, her voice is powerful. The chemistry with Orpheus isn't really there at first; her character is tough and independent, so sometimes it seemed like she could eat Orpheus for lunch. That said, by the show's end the chemistry reveals itself.

Barasch as Orpheus is completely lovely. Alternating between his striking falsetto and rich tenor range, he brings innocence and sincerity to Orpheus, making it easy to see why someone could fall in love with him. What he lacks in maturity changes somewhat as he makes the journey to rescue his love.�
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All in all, "Hadestown" is an original epic musical that, for some audience members, might take a bit to get used to. But once you settle in, you can't help but be wowed by the mastery of the music, the sets, and the passion put into every moment of the production.
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"Hadestown" runs�through May 29th�at the Ahmanson Theatre in Los Angeles. For more information and tickets, visit�www.ctgla.org.