As such, Ms. Mitchell’s score combines folk, pop and Dixieland with rhythmic work shanties and, for the lovers, ethereal arias. But if there’s one thing this “Hadestown” is pushing, it’s the idea that what really matters is happening where you can’t see it. Yet the most obvious transformation is visual: “Hadestown” is now performed on a proscenium stage instead of in a miniature Greek amphitheater. A feeling is as likely to be described as enacted, and Ms. Mitchell develops her larger themes mostly through metaphor. This can get tiring; even though so much of what happens happens beautifully, I began to feel it would be better shorter.

Source: New York Times April 18, 2019 01:41 UTC