DPAC's Hadestown is a Wild, Riveting Ride

Megan Colton (Eurydice) and Bryan Munar (Orpheus) in Hadestown North American Tour, 2023. Photo by Evan Zimmerman for MurphyMade.

If you’ve ever imagined what the underworld, at least according to Greek mythology, is like, Hadestown will take you there . . . albeit with a modern, self-aware spin. It will also take you to a world not so different from our own, one where people struggle to survive and must make difficult choices. These two places and the lives within them intertwine and come to life in this fabulously imaginative musical, which features a richly affecting book and music and lyrics by Anaïs Mitchell. Watching it unfold on the Durham Performing Arts Center (DPAC) stage is truly like being transported to a different time and place.

A lot of the immersiveness is due to the writing, but Rachel Hauck’s adapted original set design also plays a part. She includes purposefully drab colors and ominous landscapes, which are further enhanced by impressive visual effects, like foggy smoke and flashing lights. The result, especially when coupled with Mitchell’s folksy, riveting songs, is a deeply emotional experience that leaves viewers in a sort of trance. 

It’s impossible to look away as the story of two ill-fated lovers, Eurydice (Megan Colton) and Orpheus (Bryan Munar), plays out. Their tale is combined with that of Persephone (Namisa Mdlalose Bizana) and Hades (Nickolaus Colón), and both stories are related by none other than Hermes (Jaylon C. Crump), who serves as guide, narrator, and onlooker. And, if you’re not familiar with Greek mythology, don’t worry. Hermes explains everything viewers need to know through carefully-chosen details. The hauntingly beautiful songs also serve as exposition when necessary, allowing viewers to follow along at every moment.

Adding to the story is Keenan Tyler Oliphant's careful direction (based on the original direction of Rachel Chavkin) and T. Oliver's Reid's clever choreography, which is based on David Neumann’s original, multi-layered choreography. The dances are full of busy, beautiful movements that use the whole stage. They often start as disparate, only to bring the characters together and add new dimension to the production.

Additionally, the performances are stellar all around, though the two leads really shine. Colton and Munar share a cute, endearing chemistry. With their fresh faces and sweet voices, they’re utterly believable as young, head-over-heels lovers. Colton, in particular, captivates audiences with her lyrical, poetic dance style and angelic singing voice, and when she and Munar join forces on “All I’ve Ever Known,” they deliver one of the most tender and touching moments in the production. Of course, Crump’s sassy, energized Hermes is always there to add humor to the sometimes-somber script, and the deep-voiced Colón adds tension with his slimy, scary portrayal.

Ultimately, though there are no happy or easy endings here, the stories themselves and their intrinsic value are the main grabs and provide the most important takeaways. The relatable nature of these ancient tales raises tough questions about the repetitive nature of history, the enduring (and not always favorable) qualities of humanity, and the power of learning from the past.

-Susie Potter