Cessy Newmon
Words by Cessy Newmon
What a way to go to hell and back. The first of Anaïs Mitchell’s stage endeavors, HADESTOWN intertwines two tales from Greek mythology: Hades & Persephone and Orpheus & Eurydice. It’s a very different approach to a tragic end to the love between two young adults versus the often-done Shakespearian Romeo and Juliet. And Virgil’s Orpheus precedes Romeo by about 1500 years.
HADESTOWN is unique from the opening. One can’t really pinpoint a location, although the sense is that it is a tavern-style setting. Although Ms. Mitchell is considered an Indie folk singer/songwriter, much of the music has a jazz feel. Up front each of the characters is introduced through the charismatic Hermes (Will Mann), who serves as narrator throughout the show. Aiding Hermes in the show’s narration are the three Fates (Marla Louissaint, Lizzie Markson, and Hanna Schreer), whose voices blended angelically for three meddlesome “old” women.
The Workers’ Chorus is also introduced at the beginning. There appeared to be at least one swing performing the performance I saw, so I cannot specify names for the five of the ten performers who were in that particular production. The vocals for this small ensemble were fabulous.
In the small Tavern, Orpheus is a hard-working individual who cleans tables and writes songs. In mythology, Orpheus is the son of the Muse Calliope and the King of Thrace. He is considered to have a voice that could make rivers stop. J. Antonio Rodriguez picks up a guitar as his lyre and puts on the mantle of Orpheus. He transitions flawlessly into a beautiful falsetto to not only win Eurydice’s heart, but also to soften the heart of Hades (and the audience).
Eurydice, played by Amaya Braganza, has come into the Tavern seeking food and warmth and winds up finding love. Ms. Braganza is wonderful in the role, with not only her vocals and blending in with the Workers Chorus when necessary, but also in how well she fits vocally with Mr. Rodriguez. The romance between the two is very believable.
In the myth of Persephone and Hades, Persephone gets to spend half of the year above ground, while the other half is spent with Hades below. It is on one of her trips above that Persephone (Lana Gordon) meets Orpheus and Eurydice. Ms. Gordon is a firecracker on stage, and there is no doubt that she could hold her own against Hades.
Speaking of the devil himself, the first time Hades (Matthew Patrick Quinn) opened his mouth, I just said, “Wow.” He has one of those deep speaking voices that draws you in, and it held with the vocals as well.
Throughout HADESTOWN, the music went from fun to enchanting to working in a factory and back again. The overarching themes are the cycle of life and seasons (Persephone & Hades) and having faith in yourself and others (Orpheus & Eurydice). The tragedy in the story is that Eurydice loses faith in Orpheus and consequently agrees to join Hades in order to escape hunger and cold. Even though Orpheus goes to the underworld to retrieve her, Orpheus’ own doubts undo the terms of Eurydice’s release, forcing her back to Hades forever.
There are many details within the show that contribute to the senses. The set is simple, yet extremely effective. They use a turntable within the stage for some of the choreography, which adds to the difficulty and awe. Just as simple but so defining for each character were the costumes. This show is well worth the trip downtown.
HADESTOWN is limited run February 6-11, 2024, at the Jacksonville Center for the Performing Arts. Ticket prices vary based on show and seating. For tickets, go to fscjartistseries.org or call (904) 632-5000.
by Cessy Newmon
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