THROCKMORTON ROCKS THE UNDERWORLD
If this world is going to hell, as some claim, there can be no better guides than the characters in this musical written by Anais Mitchell. Director Reba Gilbert’s double-cast performances of twenty-six young actors are mesmerizing as they sing and dance and drum out a train route to the underworld. This ancient Greek myth tells of a foreboding yet unknown destination. After its astounding production of Chicago, Throckmorton Theatre in downtown Mill Valley returns with to rival that with new teen edition musical. Welcome to Hadestown.
The sense of unease is heightened by an opening exposition delivered by Hermes (Reyes Lake, Felix Maxwell). The audience suddenly realizes that “Hadestown” will be quite a dark ride.
Throckmorton Theatre has been transformed into a multi-level fantasy world of light and shadow designed by Steve Coleman and Jean-Paul LaRosee. Choreographers Gina Chapman and Erin Gentry filled the stage with singers who move so precisely as to be a human machine. Onstage, hidden musicians (Desiree Goyette, music director) blare out the “Road to Hell” with piano, slide trombone, cello, bass, violin, and more.
Hadestown is a love story, actually two, tangled up with passion and tragedy.
Hermes introduces the young poet Orpheus (Luca Cedolin, Parker Hall) who is besotted when he spies Eurydice (Riley Cover, Hannah Canin) Eurydice has her doubts about Orpheus’ sincerity, as well as his abilities as a provider. They face hardships and hunger, but together they sing the “Wedding Song.”
Persephone (Helen Kay, Elyse Faherty) appears. She’s taken a spring break from her life as the wife of Hades (Deven Reis, Max Pigoski) and has risen from the underworld. Kay’s knockout voice and boozy antics steal the scene when she sings “Livin’ It Up on Top” and passes her bottle to the crowd. When Hades shows up to retrieve her, she resists.
As a storm gathers, the three Fates (Claire Allen, Maddie Basich, Tallula Rice, Siena Wyman and Merrill Cover, in both casts) sing wisdom and warnings in beautiful harmony and flowing blue-green costumes designed by Lyre Alston. It is a soothing pleasure to hear them, like that of the Sirens.
Eurydice is enchanted by their tales of abundance down below. She’s hungry and cold and decides to see for herself. She positions herself above the crowd and the stage floor lowers her to Hadestown.
It doesn’t take long for Hades to make his move on Eurydice, sign her up, and turn her out as one of his faceless, nameless, and miserable workers in his industrial machinery enterprise. The most startling song in “Hadestown” has to be Act I’s closing “Why We Build the Wall.” It’s a chilling reminder of today’s often complacent reality.
In Act II, Orpheus seeks and finds Eurydice toiling in the underworld. Hades shows him the signed contract and commands his workers to attack. Inspired by Orpheus’s brave determination, the workers and Eurydice rally around Orpheus.
Reluctantly, Hades makes a deal to avoid a worker riot by challenging Orpheus to write a love song. It inspires Hades and Persephone to reunite. Hades agrees to let Eurydice and Orpheus leave, although with difficult conditions, as “Doubt Comes In.”
This youthful cast delivers a poignant musical with soaring vocals and spot-on choreography. Hadestown may be a tragedy, yet it is an ageless story of determination and love despite challenges.
photos by Michael Pringle @illumigardn
Hadestown
Throckmorton Theatre
142 Throckmorton Ave in Mill Valley
Fri & Sat at 7; Sun at 2; Thurs at 7 (May 29)
ends on June 1, 2025
for tickets ($30-$48), call 415.383.9600 or visit Throckmorton
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Cari Lynn Pace is a voting member of the San Francisco Bay Area Theatre Critics Circle.
