![]() “It's really unconventional, but also totally succeeded on a conventional storytelling level.” ”It was walking this line of a concert aesthetic and a totally satisfying theatrical storytelling experience,” remembers Mitchell of the show that transformed ARS Nova into a Russian vodka tent. ![]() When Mitchell witnessed Rachel Chavkin’s Natasha, Pierre and the Great Comet of 1812, she knew she found the person to help develop a true staging of her music. “It was a special time when it was just musical, but it did feel like an act of storytelling,” says Mitchell of her earliest performances of Hadestown in concert. It mixes the sensuality of jazz with the polished harmonies of Pointer Sister-like vocals, a punk rock vibe with an R&B smoothness-and a hint of Americana. ![]() The sound is a blend unlike any other musical theatre bouncing around the airwaves. Mitchell actually wrote Hadestown as a folk opera ten years ago. But turns out, this isn’t another concept album-turned-stage play story. When Hades (a fitting Patrick Page) tosses aside Persephone (Amber Gray) for Eurydice (Nabiyah Be), and Eurydice sells her soul to survive, Orpheus (Damon Duanno) must try to rescue his love from the underworld. The album tells the parables of Persephone and Hades, Orpheus and Eurydice. If you’re familiar at all with the title, it’s likely from the 2010 album of the same name by Anaïs Mitchell. ![]() Truth be told, it feels more like a comfortably dangerous dive bar. Downtown at New York Theatre Workshop (through July 31), a haze lingers at the base of a twisted oak, escorting audiences to the red-lit underworld. ![]()
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