Brand New Leads Take A First Stab At Hadestown at the Hobby Center through October 9.
Photo by Kevin Berne
However, don't assume finger-pointing at any one recent place, time, or person - Hadestown was written long before our present politics. Rather, the musical is an examination of an archetype; how we step forward and then back in the dance of industry versus nature, greed versus love, haves and have-nots, and so on.
Once there, Eurydice is an easy target for the tyrannical Hades , King of the Underworld. He grants her eternal life, but also eternal overtime as forced labor, building an impenetrable wall around his vast coal/oil/electric grid industrial fortune. The result is a deal with the devil kind of proposition. Reminded of his original love of Persephone, Hades offers Orpheus and Eurydice the chance to escape, with a catch. He’ll let the lovers go as long as Orpheus can keep his self-doubt at bay and trust fully in the love he and Eurydice share.
The hope for future performances is that, as Persephone, Oliveras retains her humorous/ballsy manner but finds a way to rein in the breathlessness that haunts her energetic numbers. As Hades, Quinn delivers the baritone but falls short on the bombast. Songs at a low pitch alone aren’t going to make us think we’re in the presence of an underworld King. A little menace would do him well.
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