By DANIEL SHOCK
A Seat on the Aisle
Hadestown is a folk-opera retelling of the Greek myth of Orpheus and Eurydice. Like many myths, it has been told many times by many different creators over millennia – each changing or adding to the story to highlight some universal truth.
The core of the story is the love of the two characters who share a painfully short time of happiness together on earth before tragedy strikes Eurydice dead and takes her to the Underworld. Orpheus, heartsick and filled with grief, embarks on an impossible quest to rescue his love from the ruler of the Underworld, Hades.
This musical telling of the tale, with book, music, and lyrics by Anaïs Mitchell, first emerged as a concept album in 2010 before evolving into a full Broadway production in 2019. Mitchell combines the myth of Orpheus and Eurydice with the parallel myth of Hades and Persephone – the cold-hearted god and the reluctant goddess of spring, whose cyclical love and separation explain the seasons. In Hadestown, that myth isn’t a side plot – it’s a living metaphor. Hades and Persephone echo the pain of control, distance, and desire that Orpheus and Eurydice are only beginning to understand.
Eduardo Palapa’s Orpheus woos Willa Cortez’s Eurydice. (Photo provided by Footlite Musicals)
Footlite Musicals brings this material to the stage with young performers who passionately connect with the music and story. The ancient story is resurrected and infused with youth and vitality that is infectious.
In a production full of strong elements, the strongest is the most important: the singing. From solos, duets, and trios with harmonies to full ensemble pieces – this group has been well rehearsed, well cast, and has put the work in. Every one of the lead characters is well matched to the requirements of their roles. The music is not easy – full of dissonance, layered rhythms, and shifting tonalities – but the cast and orchestra meet it head-on.
Grace Graves’s Persephone felt like a real person full of sass and the sorrow of the years; Carter Hinton as Hades reached way down into the underworld of his lungs and brought out real vocal menace; and Eduardo Palapa’s Orpheus pierced the theatre with a sweet, longing melody – reaching notes as high and soaring as Hades was low. Willa Cortez’s Eurydice was powerfully grounded, while Plezzance Lawrence, as Hermes, walked us through the tale with style and playfulness.
Joining the leads as a character all their own are the three Fates – Lauren Blackwood, Zyan-Kristyna Byrd, and Ruth Par. This well-dressed trio dazzled and menaced with their harmonies. Their acapella “Nothing Changes” sent shivers down my spine. The rest of the large ensemble filled in and shined through the show with great impact in songs like “Wait for Me.”
Costuming was another highlight. Designed by Etta Biloon and JoAnne Bogdon, the clothes felt like they were chosen and made with purpose. Our community theatre world is constrained by tight budgets, and it’s rare to see such a cohesive vision for a large musical cast. Each character had a costume that enhanced their performance. The ensemble all looked like they belonged in the same time and place. Well done.
The choreography, by Kevin Bell with assistant Leon Benbow-Blomberg, had moments of electricity – especially in group numbers – but also moments where polish was lacking. None of that ruined the show – it’s just that a bit more sharpness in transitions and group dynamics might have elevated the show as a whole.
Directors Dennis Jones and Edward Trout deserve applause for their casting and for encouraging and bringing out strong performances in their young cast. They’ve clearly worked to honor the material while empowering the youth performers to own their roles. There were a few stumbles in pacing and moment-to-moment transitions that could have flowed more seamlessly, but the emotional arcs were always clear, and the stakes felt real.
Musically, the pit orchestra under the baton of Gisele Dollinger was strong and steady. With players like Sally McSpadden Hanna (keyboards), Jake Kortepeter (bass), Ryan Kim (cello), and Angela Ticen (guitar), the music pulsed with urgency and life. Aaron Burkhart deserves a little shoutout for his trombone solo – this old former trombone player loved it. This team kept it tight.
Footlite’s production of this show is the teen edition. From this reviewer’s perspective and brief research, the differences are minor and barely detectable. Fans should not hesitate to see this show and the curious should not worry that they are getting a lesser version of the show. Strongly recommended.
Hadestown: Teen Edition continues its run at Footlite Musicals through Sunday, July 27, with performances at the Hedback Theatre, 1847 N. Alabama St., Indianapolis. Tickets are just $25 and can be purchased online at footlite.org/buy-tickets or at the box office (if available). Seating is reserved.
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