Review: ‘Hadestown’ sings of love of mythical proportions

If you’re inclined toward rooting for the underdog — and there was a time when most Americans did — then you have to celebrate the success of “Hadestown.”

Here’s a musical that began its journey in two small Vermont cities in 2006, the first stab at anything theatrical by young singer-songwriter Anais Mitchell. But, somehow, her little folk-rock adaptation of two ancient Greek love stories gradually evolved into a Broadway smash by 2019, winning eight Tonys, including “Best Musical.”

Now “Hadestown” is traversing the continent on a North American tour, with a one-week stop at Minneapolis’ Orpheum Theatre that launched Tuesday night. And it’s a splendidly entertaining musical that demonstrates why ancient myths deserve to be so enduring. Boasting a cast full of impressive performers, it also succeeds in being just Broadway enough in its flash and dazzle, never allowing you to lose sight of its humble origins.

The two intertwining tales from Greek mythology are those of Orpheus and Eurydice — if you’ve heard anyone say they’d “go to Hell and back” for something, that originated in Orpheus’ love for Eurydice — and Hades and Persephone, a story created to explain the turning of the seasons. (This week’s deep freeze in the Twin Cities would serve as confirmation that Persephone is still firmly ensconced in the underworld.)

In Mitchell’s retelling, the flavors of acoustic balladry, gospel, old-timey jazz, a dash of hip-hop and the drones and dirges of emo rock are swirled together in a story set in a kind of post-apocalyptic depression. That’s where hungry young Eurydice lands and meets up with struggling songwriter Orpheus, who falls for her immediately.

Soon, they’re celebrating the arrival of life-of-the-party Persephone, but the pressures of poverty eventually threaten their relationship, causing the desperate Eurydice to take a job in Hades’ dehumanizing underground factory. Orpheus sets out to bring her back, employing his songcraft to try to win their freedom from Hades. If you didn’t study mythology in school, I won’t ruin it for you.

“Hadestown” has that kind of something-out-of-nothing feel found in the most elemental of musicals. Yes, designers Rachel Hauck and David L. Arsenault have constructed an eye-catching multi-tiered set with the look of a rustic roadhouse, much of it holding an excellent seven-piece band. But it’s easy to see that this story and these songs would still work if presented on an empty stage with a set of chairs.

Acting as flamboyant emcee for this high-energy undertaking is Jaylon C. Crump’s silver-suited Hermes, the herald of the gods, assisted by an accordion-and-fiddle-wielding Greek chorus, the Fates. His is one of three voices that make Mitchell’s music seem epic, the others being the floorboard-rattling bass of Nickolaus Colon’s Hades and the soaring, soulful soprano of Megan Colton’s Eurydice. They bring out all of the music’s menace and sweetness, desperation and delight.

Director Keenan Tyler Oliphant and choreographer T. Oliver Reid keep the action flowing in this unflaggingly engaging production, aided immeasurably by pianist/music director Cole P. Abod and the onstage band, with a special nod to trombonist Haik Demirchian. The fact that Mitchell chose a trombone as her score’s chief solo instrument says something about the imaginative, unconventional nature of this musical, which, despite being rooted in tragic tales, is a tremendously fun night at the theater.

Rob Hubbard can be reached at wordhub@yahoo.com.

‘Hadestown’

• When: 7:30 p.m. Wednesday-Friday, 2 and 7:30 p.m. Saturday, 1 and 6:30 p.m. Sunday
• Where: Orpheum Theatre, 910 Hennepin Ave., Minneapolis
• Tickets: $452-$132, available at hennepinarts.org
• Capsule: Ye gods, what a fun adaptation of some ancient tales.