Hadestown's industrial allegory resonates at Benedum amid record film success

Greek mythology has dominated the entertainment market this year, driven by the box office success of The Odyssey and a film adaptation of Hadestown. That film became the highest-grossing professional shot of a stage musical in history and secured an extended theatrical run due to high demand. The national tour of the original Broadway production now concludes at the Benedum Center in Downtown Pittsburgh on Sunday, November 1.

The production offers a contemporary lens on the Orpheus and Eurydice myth through specific political and economic allegories. Hades, the ruler of the underworld, is depicted as a ruthless industrialist who constructs factories and walls with an iron fist. His Act One closing number, Why We Build The Wall, features bombastic lyrics that predate Donald Trump's 2016 presidential campaign, creating a direct parallel to modern political rhetoric.

Cast performances anchor these thematic elements with distinct vocal and acting choices. Rudy Foster portrays Hermes, the narrator and god of messengers, serving as the primary emotional conduit for the audience. Jose Contreras plays Orpheus, utilizing a light vocal tone to embody the poet's sincerity, while Hawa Kamara portrays Eurydice. Kamara demonstrated a wide range of emotional states, shifting from fragility to despair as her character accepts Hades' offer to escape starvation.

Nickolaus Colon delivers a commanding performance as Hades, using a deep, resonant voice to project authority throughout the theater. His character's strained marriage with Persephone drives the plot as he brings her to the underworld earlier each year, extending the cold season for those living on the surface. The role of Persephone was split during the Tuesday opening night, with Namisa Mdlalose Bizana performing in the first act and Miriam Navarrete taking over for the second.

Direction by Keenan Tyler Oliphant, based on the Broadway concept by Rachel Chavkin, integrates technical elements to support the narrative. David L. Arsenault's sparse scenic design and Michael Krass' costumes work in tandem with Aja M. Jackson's lighting design. Jackson uses warm and cool color shifts to create visual contrasts that reflect the emotional tone of specific scenes, while T. Oliver Reid choreographs fluid movement that enhances early numbers like Livin' It Up On Top.

The musical score combines ragtime and jazz influences to underscore the story's tension. The onstage band plays red-hot ragtime during Way Down Hadestown and a horn-led arrangement for the opener, Road to Hell. These musical choices support the show's blend of epic tragedy and hope, particularly in duets where Contreras and Kamara interact. The production maintains a tender quality despite the myth's fatal conclusion, offering a hopeful perspective on labor rights and climate change allegories.

Hadestown remains part of the Pittsburgh Cultural Trust's PNC Broadway in Pittsburgh Series at the Benedum Center through Sunday, November 1. The show was originally nominated for 13 Tony Awards in 2019 and won eight of them. Tickets are available through the trustarts.org website for the final performances of the national tour in the city.