Megan Colton, Jaylon C. Crump, Bryan Munar, and Cast Photo by Evan Zimmerman for MurphyMade

Hadestown is a mash-up of two Greek myths. One is the tale of Eurydice and Orpheus, a musical prodigy whose father is Apollo, a powerful god with dominion over music and dance. The two fall ardently in love and are happily married until she dies of a snake bite and is taken to the underworld by Hades. Heartbroken Orpheus finds a way to brave numerous hazards and enter Hades while still alive, intent on rescuing his beloved. Hades, king of the domain that bears his name, agrees to give Orpheus the chance to bring Eurydice back to life on the Earth's surface but with a stipulation that sorely tests Orpheus' faith.

The second myth is about Hades and Persephone, daughter of the goddess of agriculture, Demeter. Given her parentage, it is not surprising that Persephone is associated with fertility. Hades abducts her to be his wife in the underworld. Though she comes to love her captor, she grieves for the lushness of the life she left behind. Hades makes a deal with Persephone that she may return to the Earth's surface eight months of the year, bringing with her the fertility of spring, summer and fall, but must return to Hades for the next four months, leaving the Earth and the mortals to struggle through the barren winter.

With modifications that allow for the two myths to feel organically enmeshed, this is the narrative devised by Hadestown's creator, Anaïs Mitchell, a singer-songwriter who wrote the book, music and lyrics for the show. Mitchell developed the musical further with director Rachel Chavkin. It had originally sprung to life in 2010 as a concept album, created by Mitchell. Mitchell and Chavkin brought it to the stage in 2016 at the New York Theatre Workshop, the same Off-Broadway company that a couple of decades before had brought Rent to the world. From there, Hadestown traveled to London, then back across the sea to Edmonton, and finally, in April 2019, opened on Broadway where it continues to run. In addition to the Tony Award for Best Musical, Mitchell received the Tony for her score and Chavkin won for her direction, three of Hadestown's seven Tony Awards.

The touring company in Minneapolis this week were greeted by a crowd that seemed largely familiar with the work, roaring approval at the first glimpse of the actors and musicians who walk on stage before the house lights dim, smiling and waving to the audience as the onstage musicians begin playing the riff that evolves into the show's opening number, "Road to Hell." This is led by Hermes, who serves as the show's master of ceremonies, narrator, and a sort of counselor to Orpheus and Eurydice, though he ultimately holds no sway over the choices they make. From ancient times, Hermes was conceived as a psychopomp, a leader of souls journeying on the road between the "upper" and "under" worlds. From these origins, Hermes became known as messenger to the gods and presided over boundaries, roads and travelers. How suitable, given that Hadestown is primarily a story about intrepid travelers, the roads they traverse, and the boundaries they cross.

In "Road to Hell," Hermes (who has been played on stage by both male and female actors) introduces the show's other characters–in addition to Orpheus, Eurydice, Hades and Persephone, we meet the three Fates, a closely harmonizing chorus whose commentary on the actions of the principals is often harsh, but honest. The remaining cast members are those who extoll the joy of life when Persephone joins them above ground, and become the workers chorus, consigned to eternal drudgery in Hades' underground foundry.

We also get to know the orchestra members, seven players perched on platforms at either side of the stage, marvelously in sync with every step of the action. Music director, conductor and pianist Cole P. Abod gleefully leads them through the vibrant orchestrations by Michael Chorney and Todd Sickafoose, which earned another of Hadestown's Tony awards. The array of styles are all performed by the orchestra with panache, and from the standpoint of its music alone (close your eyes) it would be well worth the two and a half hours running time.

The cast works together as a tight ensemble, directed for the tour by Keenan Tyler Oliphant in what is identified as a "new original tour concept by Rachel Chavkin." That new concept includes streamlining the set, which is still marvelous (the original was another Tony Award for scenic designer Rachel Hauck, reconfigured for the tour by David L. Arsenault) but leaves us to imagine the locomotive to Hadestown, though greatly aided by smoke, lights (dazzling, designed by Aja Jackson, based on Bradley King's Tony Award winning work for the original production) and the orchestral sounds of a mighty engine. The lighting really is integrated into the set design, and one could hardly exist without the other.

Among the standouts in the cast is Nickolaus Colón as Hades. His large frame and gravel-pitched voice bring ferocity to "Hey, Little Songbird," "Why We Build the Wall" and his duet with Persephone, "How Long?," yet there is a certain softness in his appearance that makes his concession to Persephone believable. Megan Colton is a highly charged Eurydice, arriving with world-wary disdain, then allowing us to see her protective layers fall away as she melts into Orpheus' undeniable love, expressed by his charmed music. Colton has a gorgeous voice that soars in "Any Way the Wind Blows," "All I've Ever Known," "Flowers," and "Promises."

As Orpheus, Bryan Munar conveys the naivete and innocence of a true believer, his piercing falsetto soaring with the crystalline purity of his love, especially stunning in the three "Epic" songs that transform their listeners, and lowering his pitch to convey the strength of his resolve to rescue his beloved in "Wait for Me." The power of that song's declaration of love is magnified by its dazzling execution as he travels on the treacherous back roads to Hades.

Jaylon C. Crump gives a solid performance as Hermes, expressing empathy for Orpheus, Eurydice, Persephone, and even for Hades, while urging them to stay in tune with the realities of their situations, which are simply the realities of life and death. Crump shows off Hermes' flashy attire with flair, and his voice especially comes through in "Road to Hell," paired with Persephone in "Livin' It Up on Top," and leading the entire company in "Way Down Hadestown." Namisa Mdlalose Bizana captures the joyful essence of Persephone when she returns topside, spreading her gifts of fertility around the earth, and handles the comedic elements with aplomb. She persuasively expresses sympathy for the two lovers trapped in Hadestown, and draws on her strength to confront Hades. Only in the song and dance department does she fall a bit short.

As the three Fates, Katelyn Crall, Miriam Navarrete, and Alli Sutton sing terrifically, especially in their close harmonies–as perfect on "When the Chips Are Down" as you could wish for–but don't quite convey the in-your-face-sass that one expects. The remainder of the cast, the five-member work chorus, are terrific throughout, executing T. Oliver Reid's energetic choreography, based on David Neumann's original work, like so many skeletons twisting in the wind. The choreography also offers moments of tenderness, in particular a lovely dance for Orpheus and Eurydice.

The song "Why We Build the Wall," a call and response between Hades and his team of enslaved workers has always seemed to be a commentary on the folly of insular thinking and protectionist politics, and of hording wealth beyond reason at the expense of those in greater need. With the recent news of our nation's withdrawal from providing life-saving services and supportive systems to lift depleted nations out of poverty, and denying a safe haven for those seeking asylum from torturous conditions, this song becomes timelier and more portentous than ever.

Hadestown remains a unique musical, unlike any other you are likely to see, with a beautiful score and stunning staging. While created through twining of two tragic myths, Mitchell and Chavkin have devised an ending that instills hope and gratitude for the resilience of the human spirit, and the ever-present belief that whatever follies our species falls prey to, we can rise up and try again. This touring production does full justice to those attributes, and delivers an immensely gratifying theater-going experience.

Hadestown runs through February 16, 2025, at the Orpheum Theatre, 910 Hennepin Avenue, Minneapolis MN. For tickets and information, please call 612-339-7007 or visit hennepintheatretrust.org. For information on the tour, visit www.hadestowntour.com.

Book, Music and Lyrics: Anaïs Mitchell; Director: Keenan Tyler Oliphant, based on the Broadway production developed and directed by Rachel Chavkin; Choreographers: T. Oliver Reid, based on Broadway choreography by David Neumann; Arrangements and Orchestrations: Michael Chorney, Todd Sickafoose; Scenic Design: David L. Arsenault, based on original Broadway scenic design by Rachel Hauck; Costume Design: Mark Krass; Lighting Design: Aja Jackson, based on original Broadway lighting design by Bradley King; Co-Sound Design: Nevin Steinberg and Jessica Paz; Hair and Wig Design: Jennifer Mullins; Music Supervisor: Cody Owen Stine; Music Director/Conductor: Cole P. Abod; Music Consultant and Vocal Arrangements: Liam Robinson; Production Stage Manager: Molly Goodwin; Creative Producer: Mark Lunsford; Casting: Whitley Theatrical – Benton Whitley, CSA and Micah Johnson-Levy, CSA.

Cast: Namisa Mdlalose Bizana (Persephone), Randy Cain (Workers Chorus), Ricky Cardenas (swing), Michelle E. Carter (swing), Nickolaus Colón (Hades), Megan Colton (Eurydice), Katelyn Crall (Fate), Jaylon C. Crump (Hermes), Darius J. Manuel (swing), Bryan Munar (Orpheus), Miracle Myles (Workers Chorus), Miriam Navarrete (Fate), Kaitlyn O'Leary (Workers Chorus), Mikaela Rada (Workers Chorus), Joe Rumi (Workers Chorus), Julia Schick (swing), Alli Sutton (Fate).