Anais Mitchell's 'Hadestown' to Hit Broadway in Spring

Hadestown Production Still 2 - Publicity-H 2018
Courtesy of Helen Maybanks

The musical retelling of the Orpheus and Eurydice myth first drew acclaim as a 2010 concept album spun out of a Vermont community theater project, before making its full-scale stage premiere off-Broadway in 2016.

The underworld has a New York address on West 48th Street.

The long-anticipated Broadway transfer of Anais Mitchell's cult folk opera Hadestown has locked in a spring opening at the Walter Kerr Theatre, which has been occupied for the past year by the blockbuster run of Springsteen on Broadway, closing Dec. 15.

Developed out of Mitchell's 2010 concept album — which intertwines the love story of Orpheus and Eurydice with that of King Hades and his wife Persephone on an epic journey to the underworld and back — the show has been collecting critical plaudits and a swelling fan base since it premiered off-Broadway in 2016 at New York Theatre Workshop. It mixes modern American folk with vintage New Orleans jazz in a sung-through narrative.

Directed by Rachel Chavkin, who made a stunning Broadway debut also in 2016 with Natasha, Pierre & the Great Comet of 1812, Hadestown has since been staged in Canada at Edmonton's Citadel Theatre and is currently receiving further development in an engagement at London's National Theatre that wraps Jan. 26.

While casting has not yet been confirmed for the Broadway iteration, most of the London ensemble led by Reeve Carney, Eva Noblezada, Patrick Page, Amber Gray and Andre De Shields is expected to remain with the transfer.

Mara Isaacs, Dale Franzen, Hunter Arnold and Tom Kirdahy are producing the show on Broadway, beginning previews at the Kerr on March 22 ahead of an April 17 opening night.

"The genius of Anais Mitchell's work on Hadestown is that she takes a myth as old as time and gives it a new life so vibrant and relevant that audiences hold their breath, waiting to see how this timeless tale will unfold," Isaacs said Tuesday in a statement. "Rachel Chavkin and the entire team have created a pulse-racing world for Anais' joyous and haunting score to live. I'm thrilled for New York audiences to see this entirely new production, a raucous and electrifying celebration that is truly a show for our times."

The design team on the musical includes Rachel Hauck (sets), Michael Krass (costumes), Bradley King (lighting) and Nevin Steinberg and Jessica Paz (sound). Choreography is by David Neumann, with music direction and vocal arrangements by Liam Robinson. Orchestrations and arrangements are by Michael Chorney and Tom Sickafoose, both of whom worked on Mitchell's original recording.

The April opening date makes the production eligible for consideration in the 2019 Tony Awards.