HADESTOWN – Book, Lyrics and Music by Anais Mitchell; Directed and Choreographed by Grayson Allensworth and Maya Eisbart; Music Direction by Oliver Goertzel. Produced by New Generation Productions (Presented at the Montview Presbyterian Church, 1980 Dahlia) through January 18. Tickets available at https://new-generation-productions.ticketleap.com/
A rogue band of rowdy players invaded a church last night and vowed to stay for two more days performing their tale of love and woe nearly three thousand years old before moving on. Those wishing to hear this story of lost dreams and the power of music must move quickly to view this ragamuffin lot in their unnatural habitat. In other words, move your butts or you’re going to miss out on an incredible theatre evening.
The rowdy band is a group of students from the Denver School of the Arts who are happily demonstrating in this full-blown production of the rock musical HADESTOWN why they were chosen for DSA and why they will become movers and shakers in the worlds of music and theatre when they move on to college and careers. Their origin story begins with the isolation imposed by Covid and the boredom of creative people. The dreamers came up with the idea of forming their own theatre company since their school wasn’t allowed to – which they did and have been performing together ever since. This is their biggest production to date. But most have only another year in which to do more shows before they graduate and move into the next phase of their professional lives.
HADESTOWN has both rock-out music and gentle love songs. It tells the tale of Orpheus and Eurydice, a love story doomed from the start. Eurydice, because of hunger and doubt that her life will ever change no matter how nice Orpheus seems to be, makes a deal with the devil Hades who rules the underground kingdom where people go when they die. Orpheus walks to Hell to rescue the woman he loves, but because of his insecurity and lack of trust, fails in the final test. A back story explores the relationship between Hades and his wife Persephone who made a similar mistake and must work to find their own love story again.
This cast brings the story to life with energy and enthusiasm. Accompanied by a seven-piece band who live on stage with the players (led by Sebastian Maa), they bring Anais’ music rolling to the rafters. The nuances of meaning, the delicacy of the staging, and the power of the acting and singing make this a performance that will linger long after the stage goes dark. Co-directors Grayson Allensworth and Maya Eisbart demonstrate their confidence in directing and choreographing and take the lead roles of Orpheus and Eurydice with ease. Grayson’s young man in love is expressive and touching. Maya’s woebegone damsel in distress is both vulnerable yet in control of her own life. Logan Ambroccio excites playing Hades who proves to be both mysterious and needy. He’s also not quite able to control his whimsical wife Persephone, played by Antonina Monsolino with gusto and bravado. Under her guidance, you can picture Hell closing down for the afternoon so she can get him up top for a walk in the sunshine.
The backup crew is equally adept at the story-telling. The three Fates who provide good advice and warnings are given life by Shayla Miller, Cha Cha Anders, and Liya Shiferaw. The Ensemble of singers and dancers playing workers and observers are Joshua Thomas, Zara Fetzer, Lian Vandijk, Khloe D’[Auray and Adan Swim. Of particular note is the Narrator Hermes who introduces the events of the evening with song and fills in the blanks in the story with his observations. Elliot Jenkins rules in this role providing comic relief in tense moments and sympathy when needed.
The production crew has utilized all corners of the chapel in which the performance is staged, has found interesting ways to enhance the visual experience with flashlights and lanterns, and have created the well worn costumes of a traveling band of players.
I recently heard a quote that seems to fit this group – “Creating art in this political environment is an act of radical optimism.” I would place this work side by side with any other three-year-old theatre troupe in town. And these kids are just getting started. Watch them make a splash in the years to come by jumping on their bandwagon and following their work now while there’s room beside the proud parents, friends, and teachers. They are all both radical and optimistic.
A WOW factor of 8.50!