Rating 7/10
Filmed stage productions have often been seen as niche releases aimed primarily at theater fans. That perception changed when Hamilton premiered to a wide audience on Disney+ in 2020, proving that a filmed Broadway performance could attract viewers well beyond the stage. It later enjoyed a successful theatrical run in 2025 as well, opening the door for similar releases. Hadestown: The Musical was initially booked as a limited engagement, but strong audience demand led to an extension.
This was my first encounter with Hadestown, so I was curious to see whether the acclaim would translate to movie theaters. It largely does. The multi-camera presentation provides close-ups and shifting perspectives unavailable from a single theater seat, and occasional shots of the intimate audience preserve some of the energy of a live musical. Still, this is not a cinematic reinterpretation in the vein of Les Misérables or West Side Story. It remains a recorded play preserved on film, and that distinction does have limits.
Hadestown is the acclaimed musical by singer-songwriter Anaïs Mitchell. She first developed it as a folk opera. It later evolved through workshops and stage productions before reaching Broadway. In 2019, it won eight Tony Awards, including Best Musical.
Rachel Chavkin directed the original Broadway show. Filmmaker Brett Sullivan oversaw its translation to the screen. He has extensive experience filming musicals, including Billy Elliot, Miss Saigon, and Newsies. This version was captured live at London’s Lyric Theatre with the original principal Broadway cast.
Drawing from Greek mythology, Hadestown intertwines the tragic love story of Orpheus and Eurydice with the troubled marriage of Hades and Persephone. It unfolds in an unspecified era that blends this mythology with Depression-era America. Folk, blues, jazz, and New Orleans influences shape the mood. At its center is Orpheus, an idealistic young songwriter who descends into the factory-like underworld of Hadestown to rescue Eurydice, the woman he loves. Orpheus believes that beauty and imagination can repair a broken world. Eurydice, meanwhile, is more concerned with the immediate need for food, shelter, and stability. Hadestown appears to offer that security, but at what cost?
The performances are strong. Reeve Carney and Eva Noblezada are appealing as the leads Orpheus and Eurydice. However, their portrayals didn’t leave as lasting an impression on me as their co-stars. The true standouts are André De Shields’ charismatic Hermes, whose narration guides the audience through the story; Amber Gray’s delightfully quirky Persephone, who adds humor with a knowingly hammy theatricality; and Patrick Page’s commanding Hades, whose deep bass voice makes him an imposing presence.
Where Hadestown truly excels is in its staging. Anaïs Mitchell’s score is to be commended too, but the visuals elevate it. The highlight is unquestionably “Wait for Me,” a breathtaking sequence in which Orpheus descends into the underworld. The stage seems to transform before our eyes as sections of the set separate, revealing glowing pathways into the abyss, while swinging lamps sweep rhythmically above the performers. The choreography of the lights, moving scenery, and ensemble creates an astonishing illusion that is absolutely thrilling; one of those moments where all the parts are working together in sync.
Even viewed through the lens of a theatrical presentation, this is a powerful experience. While its filmed format limits its cinematic scope, it faithfully preserves what makes Hadestown such an impressive musical. For anyone who has never had the opportunity to see the show live, it’s an excellent chance to enjoy an extraordinary production led by the cast that helped make it legendary. Turns out, a trip to hell can be a surprisingly good time.
07-28-26