Review and theatre-going tips for Hadestown

"It's an old song... and we're gonna sing it again."
- Hermes, Hadestown

Amber Gray in Hadestown on Broadway

I've seen Hadestown twice now so I figured it was time to write something about it. Alright? Alright.

What did Erin think?

While I can't claim to be one of the oldest Hadestown fans out there (I have so much respect for you people who saw the musical at NYTW in 2016 and had to wait a year for the cast recording to come out, then another two years for the show to open on Broadway), I have been a fan since the release of the Off-Broadway cast recording last year, and needless to say I've been waiting with baited breath for Hadestown to hit Broadway.

I knew it would be good, because Rachel Chavkin and Anais Mitchell is a winning combination--especially when joined by Amber Gray, Eva Noblezada, and Patrick Page. Still, whenever you see a new incarnation of something you love, there's a fear that it won't be as good as you want it to be.

Never fear. Hadestown is that good. And better.

I can't even describe what the show made me feel--it's electric, thrilling, beautiful, and incredibly moving. Not only is it a cast and orchestra for the ages, it's directed by the daring, inspired Rachel Chavkin and it features one of the best original scores in recent Broadway history. Amid a flux of revivals, jukebox musicals, and movie adaptations, Hadestown is a relief--a bright star on Broadway and a sign that high-quality, original new musicals are still possible.

The powerful emotional force of this show was proven by the fact that I could hear sniffling throughout the whole theatre for most of Act II, and that at the climax, when the final tragedy happened, one person in the audience literally screamed: "NO!"

Go for the soul-stirring music, the gorgeous script, the monumental staging, the incredible actors, and the inspiring message about the power of art in an imperfect world.

Also, go for the swinging lamps.

How can I get cheap tickets?

Rush tickets are available for $42.50 each. These are given out at 12 PM for matinees and at 5 PM for evening performances. I haven't tried to rush this show so I'm not sure how early you'd have to get there, but I imagine pretty early. Standing-room only tickets are also available for sold-out performances, at $39 each. Again, it's limited to one per person. 

There's also a lottery. You can win tickets for $42.50 each. But if you do, be prepared to sit in the literal worst seat in the theatre, from which you'll have a very limited view of the stage. (Speaking from personal experience).

Where should I sit?

I sat toward the back of the orchestra the first time I saw it and had a great view. I'm thinking the view from the mezzanine would also be very good. Just don't sit in the boxes, as you'll only have a partial view of the stage and with Rachel Chavkin's phenomenal staging, you'll want to be able to see everything.

How long is it?

2 and a half hours, including a 15-minute intermission.

What else do I need to know?

Bring tissues.

While you don't need to know the following, it might increase your enjoyment of the show:

Hadestown combines two Greek myths: the story of Orpheus and Eurydice and the story of Hades and Persephone. But you don't need to know anything about either myth before seeing Hadestown. Guided by messenger of the gods Hermes (Andre de Shields), who narrates the show, you're in capable hands for this masterfully told tale.

You might find yourself wondering where and when this story takes place, but as Hermes says, "Don't ask where, brother, don't ask when." This is a myth, and as such, time and place are irrelevant. It could happen today, or it could have happened thousands of years ago.

At this point, Hadestown itself has a long and storied history--which you definitely don't need to know before attending, but which you might find interesting.

Phase I: Concept Album

Anais Mitchell, an indie singer-songwriter, first envisioned Hadestown as a folksy concept album back in 2010. The album features Mitchell as Eurydice and Bon Iver as Orpheus. The soundtrack is still available for buying or streaming on multiple platforms, and you might find it worth a listen if you like the show.


Phase II: Off-Broadway at New York Theatre Workshop

In 2016, Hadestown played Off-Broadway at the New York Theatre Workshop under the direction of Rachel Chavkin. This time, Damon Daunno played Orpheus, with Nabiyah Be as Eurydice, Amber Gray as Persephone, and Patrick Page as Hades. A live cast album was recorded and released in 2017. It's well worth a listen, if only for Daunno's jaw-dropping vocals.

Phase III: Edmonton, Canada

Randomly, Hadestown next went to Canada, now with Reeve Carney in the role of Orpheus. Amber Gray and Patrick Page reprised their roles as Persephone and Hades, respectively.


Phase IV: London's National Theatre

In 2018, Hadestown played at London's National Theatre, this time with Eva Noblezada as Eurydice and Andre de Shields as Hermes. Carney, Gray, and Page all reprised their performances.

Phase V: Broadway

Hadestown opened on Broadway on April 17 at the Walter Kerr Theatre, with much of the cast from the London run still intact, though the Chorus and Fates are new to the production for its Broadway run. A Broadway cast album is slated for June 7.

Is it appropriate?

It is 100% appropriate and fine to take your kids to. No swearing, sex, or nudity. The only violence is a short choreographed sequence in the vein of West Side Story, and it's pretty mild.

Where's the stage door and who comes out?

The stage door is just to the right of the theatre as you exit, and it will be marked with barricades and probably lots of fans. Because of its history and the fact that many actors have been involved with the show for a while, Hadestown's cast has a pretty big following, so prepare for a crowd at the stage door. When I saw an evening performance during previews, everyone came out except for Amber Gray. When I went back and saw a matinee after the show had opened, everyone came out except Amber Gray, Patrick Page, and Andre de Shields. Eva Noblezada and Reeve Carney came out both times and were absolutely delightful. They'll sign and take pictures with you, and they seemed eager to talk to fans.

Your obedient servant,

EJK

Review and theatre-going tips for King Lear on Broadway

"Men must endure their going hence, even as their coming hither: Ripeness is all." 

- Edgar, King Lear

Glenda Jackson as King Lear

What did Erin think?

If you're a fan of King Lear, Shakespeare, or Glenda Jackson, you owe it to yourself to see King Lear on Broadway. The cast is exceptional: a group of Shakespearean pros who speak the language of the Bard as if it were their mother tongue. The set design is inspired: a regal state room that gradually devolves into chaos. And, of course, Glenda Jackson is phenomenal. Over the course of three hours, she subsumes the King with such ease and power that the two become one, and Lear is brought, vividly and almost startingly, to life. Without getting into gender politics, I don't think I've ever been as moved by a man's performance in the role as I was by Glenda Jackson's final monologue over Cordelia's corpse.

Ruth Wilson, jointly playing Cordelia and the Fool, also gives a fantastic performance. She's otherworldly as Cordelia: her every word and every action exhibiting the character's inherent love and nobleness. As the Fool, she is equally delightful--switching from paralyzing depression to boyish exuberance with a telling desperation. Her Fool comes off as trying too hard to out-jest the sorrows of himself and his master--and perhaps attempting to work himself into a crazed frenzy, as if he could go mad by trying hard enough and thereby forget the harshness of the world around him.

Notable performances also come from Pedro Pascal as a slick Edmund, Elizabeth Marvel as a monstrous Goneril, and John Douglas Thompson as the steadfast, courageous Kent. That being said, just about every member of this standout cast gives a masterful performance: it would simply take too long to call each of them out by name.

A shiny gold box, reminiscent of tinfoil, surrounds the stage, making the action feel contained and slightly claustrophobic. During the storm, a metal sheet comes down in front of the stage, shutting the characters off from the shelter to be found inside, conveying a sense of exposure and helplessness before the elements.

An onstage quartet of musicians provides background music at certain moments in the show, and while the music (composed by Philip Glass) is gorgeous, I'm still undecided as to how I feel about it in the context of the production. At times, it added to the mood, but at other times, I found it distracting.

But despite any faults in this production, it's still an unmissable King Lear. Glenda Jackson gives a landmark performance in Shakespeare's greatest tragedy--to say nothing of the other actors' performances. It's a chance to revel in Shakespeare's poetry, ponder the world's injustices, and get swept up in the action--all while marveling at Glenda Jackson's uncanny acting abilities.

How can I get cheap tickets?

I bought my ticket for $53 at the TKTS booth. I've seen the show listed on there literally every day since it's opened. You can also get higher priced tickets (up to $88) at the booth. $40 rush tickets are also available.

Where should I sit?

I sat in the fourth row of the mezzanine, and while I generally like sitting in the orchestra when possible, this seat was great. The Cort theatre isn't that big, so even the mezzanine feels intimate, and you have a great view of the whole stage. 

How long is it?

3 and a half hours, including a 20-minute intermission.

What else do I need to know?

Arrive early. If you're thinking that Broadway shows always start 5 or 10 minutes late, you're generally right. But not this one. It starts promptly on the dot at the scheduled time. It's also worth arriving early to use the restroom--because the intermission is 2 hours in. Need I say more?

Is it appropriate?

Violence. This is a Shakespearean tragedy. It will have blood. People get shot, but it's not gory or gruesome. Not, that is, until the memorable scene where Gloucester gets his eyes gouged out. There were literal gasps from the audience.

Sex. There's a brief scene where Edmund and Goneril get it on. The good news is it's brief and there's no nudity. But probably don't take the kids. Then again, if you're taking your kids to see King Lear we need to talk.

Language. There's some talk about female dogs. That's about it, unless you're counting "Thou whoreson zed, thou unnecessary letter!"

Where's the stagedoor and who comes out?

The stagedoor is immediately to the left of the theatre marquee, which also means it's just to your left as you exit the theatre: a set of double doors currently advertising Wicked and Dear Evan Hansen. There was a security guard and barricades, so it's pretty hard to miss. Most of the cast came out and signed/took pictures, including Ruth Wilson, Jane Houdyshell, Pedro Pascal, and yes--even Glenda Jackson.

"I'm guessing Glenda Jackson doesn't come out?" said one person to the security guard.

"She comes out. Every night," he replied.

The cast members are all incredibly friendly and willing to sign, take pictures, or just talk to you. Ruth Wilson talked at length about the connection between Cordelia and the Fool when one girl asked her about it. A few of the actors weren't signing but were still very gracious as they walked by.

Glenda Jackson will sign, take a picture with you, and even talk to you because that's just how she rolls. 

"You were amazing," I told her.

"Thank you," she said. "It's an amazing play, isn't it?"

Your obedient servant,

EJK

Start a journey: Welcome to Box Five

Let the audience in! Let my opera begin!
- The Phantom, The Phantom of the Opera 

Is there anything in the world more exciting than sitting in a dark theatre, listening to the opening organ chord of The Phantom of the Opera overture?

(Or if you're not a Phan, insert your own favorite musical.)

You're setting off on a journey. Maybe it's one you've taken before. Maybe this is your first time.

Either way, and even if you've traveled this path before now, there's no telling what lies ahead.

Will it still be the story you know? What new surprises will you uncover along the way?

Of course, much of it will be familiar territory.

Your favorite songs, your favorite lines, the scenes that fill you with delight, with terror, with excitement. The moments that make you laugh, cry, and shiver. You're ready to experience them all again.

That opening chord is like the greeting of a dear friend whom you haven't seen in a while: at once familiar and new. Because not only will a production change every time a new cast takes over--it will change every time you see it. Because you will be different each time.

Depending on where you are, what you're feeling, what you've experienced lately, the show will change. You will notice new things. You will feel different things.

But now, at this moment in time, listening to that first, startlingly loud organ chord and watching the chandelier slowly flicker into life, there's no telling just what lies ahead.

You're on the threshold of a world. Your sojourn there can only be temporary--but at the moment, it all lies before you.

For me (and I'm guessing for at least some of you), theatre is so much more than simply a form of entertainment. It's a journey. It's a revelation. It's a friend.

Welcome to Box Five.

Here you'll find reviews of shows on and off Broadway, practical theatre-going tips, and flashes of passion as my love affair with theatre continues.

All these thoughts come from the head of a 20-something West Coast transplant now living her dreams (well, some of them, anyway) in the place where dreams come true (aka NYC).

Oh yeah, and she's probably the most introverted introvert you'll ever meet (or not meet).

So from time to time, you'll also find existential musings on introversion and theatre. Because the two recently connected in my head, and when they did, sparks flew.

Also, I recently saw Dear Evan Hansen.

Keep your hand at the level of your eyes, and we're ready to start this journey!

Your obedient servant,

EJK