Winner of eight Tony Awards, including best musical, director and score, the story of doomed lovers Orpheus and Eurydice was brought to life in a years-long ...
Orpheus, an innocent and romantic musician who plays the harp-like lyre, falls for the beautiful Eurydice, whom he pursues all the way down to Hadestown in an attempt to rescue her from the clutches of its evil overlord.
But, for example, “Road to Hell,” the opening number of the Broadway version, doesn’t appear on Mitchell’s original album, or even in full by the time it arrives at the off-Broadway house New York Theater Workshop in 2016. In fact, the first three songs and many more were written during the long development process, doubling the length of the folk opera as it became Broadway-ready.
“It’s just very efficient,” Chavkin says, citing as inspiration “Prologue,” the opening song of her longtime collaborator Dave Malloy’s electro-popHadestown. As Pierre introduces the other characters, he warns:Gonna have to study up a little bit if you wanna keep with the plotSo look it up in your programfeatures an eclectic mix of musical styles — folk, jazz, blues — not often seen on Broadway. It’s part of what attracted Chavkin.
She also was riveted by Mitchell’s subtle embrace of specific contemporary issues like climate change and political division.is set in a vaguely post-apocalyptic Depression. In “Any Way the Wind Blows,” Eurydice comments on extreme changes in the weather. But it’s “Why We Build the Wall,” written a decade before Donald Trump was elected president, that sounds the most prescient.
Hades, backed by a worker chorus, lays out his chilling rationale in a kind of doublespeak. The wall is there to keep his people free by keeping out the enemy: poverty. “Because we have and they have not,” he intones in a voice at the bottom of the scale. “Because they want what we have got.”Then in a twist at the end of the song, his even deeper, truer purpose is revealed.
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