Broadway tour of "Hadestown" at the Orpheum Theatre

It's an old song. It's a sad song. But we sing it anyway. Such is the song of Hadestown, the 2019 Tony winning best musical that's returning to Minneapolis this week. Three years since the last time I saw* it and it's even more meaningful and powerful in light of the state of the world right now. This brilliant musical written 15+ years ago speaks to the struggles of the working class and the dangers of a despotic ruler in a way that strongly resonates in 2025. These themes are explored through the story of Hades and Persephone, whose relationship is responsible for the changing of the seasons (according to Greek mythology), as well as Eurydice and Orpheus' tragic love story. Singer/songwriter Anaïs Mitchell turned this sad old song into a song cycle, a folk opera which she first recorded with some of her folk singer friends in 2010 (which I heard her perform at the loveliest little folk festival in Minnesota, Storyhill Fest). It took almost a decade to turn that song cycle into a Broadway musical, with help from visionary director Rachel Chavkin. The result is this stunning piece of music-theater that's wholly unique and original. I was lucky enough to see it on Broadway (where it's still playing), and now twice on tour. Because even though we know how this song ends, as long as they keep singing it I'll keep listening with rapt attention. Experience the song of Hadestown at the Orpheum Theatre in downtown Minneapolis through Sunday only (click here for info and tickets, including student/educator rush).

Broadway Tour of "Hadestown" at the Orpheum Theatre

It's an old song. It's a sad song. But we sing it anyway. Such is the song of Hadestown, the 2019 Tony winning best musical that's finally made its way to Minneapolis, just in time for spring. The sad old song being sung again and again is that of Hades and Persephone, whose relationship is responsible for the changing of the seasons (according to Greek mythology), as well as Eurydice and Orpheus' tragic love story. Singer/songwriter Anaïs Mitchell turned this sad old song into a song cycle, a folk opera which she first recorded with some of her folk singer friends in 2010 (which I heard her perform at the loveliest little folk festival in Minnesota, Storyhill Fest). It took almost a decade to turn that song cycle into a Broadway musical, with help from visionary director Rachel Chavkin. The result is this stunning piece of music-theater that's wholly unique and original. I was lucky enough to see it on Broadway, and am thrilled that the tour is finally here! Truly, friends, don't miss your brief chance to see it at the Orpheum Theatre before the song moves on (click here for info and tickets).

2019 NYC Trip: "Hadestown" at the Walter Kerr Theatre

Show*: 1

Title: Hadestown

Location: Walter Kerr Theatre

Written By: Anais Mitchell

Summary: A folk musical retelling of the Orpheus myth, developed from Anais' 2010 concept album with director Rachel Chavkin.

NYC 2017 Trip: "Natasha, Pierre, and the Great Coment of 1812" at the Imperial Theatre

Show*: 6

Title: Natasha, Pierre, and the Great Coment of 1812

Location: Imperial Theatre

Written By: Dave Malloy

Summary: A musical adaptation of Tolstoy's novel War and Peace that is neither about war nor peace, but rather focuses on the love triangle between Andrey, Natasha, and Anatole, told in an immersive style.

"The Royal Family" at the Guthrie Theater

If you know me, you know that I'm a morning person who loves a 90-minute no intermission show - short, succinct, and to the point. The Royal Family, now playing at the Guthrie, is not that show. With its three acts and two intermissions, the show is pushing three hours. The good news is it doesn't feel nearly that long. In fact it's quite a delight to spend three hours with the wacky and extremely theatrical Cavendish family (as long as they're not your own). This 1927 Broadway play is a spoof of the real life Barrymore family of actors, a hilarious family comedy in addition to being an exploration of the sacrifices made by those in the theater. Directed by Rachel Chavkin (who also directed the new musical Natasha, Pierre, and the Great Comet of 1812, currently on Broadway*), the strong 15-person cast, made up of mostly local favorites with some national talent thrown in for extra spice, is a joy to watch. Continuing through March 19, The Royal Family provides plenty of laughter and a much needed escape.