Anais Mitchell has been living in “Hadestown' for 15 years. The indie folk singer-songwriter never intended to linger so long, writing a musical that would travel — slowly — to Broadway and rack up 14 Tony Award nominations.
, calling it “more of an illustrated pop concert. … The songs are sung and the story is told, but rarely are the two things one.”
As the production traveled after its off-Broadway run to Canada and England, some songs got only minor adjustments. “Why We Build the Wall,” in which Hades explains how building a border is the secret to a region’s wealth, was written a decade before the Trump presidency, “and I'd like to think that song won’t be relevant in another 10 years,” Mitchell says.Other numbers get major overhauls. “The ‘Epic’ songs were the bane of my existence!” she says, laughing.
Longtime fans first met Page’s Hades and Gray’s Persephone in the off-Broadway live recording. What if they prefer that version’s Orpheus and Eurydice, now played by different actors? Rather than feeling self-conscious or apologetic about fans' comparisons between the various versions, Mitchell is empathetic and even excited by such intimate conversations about the music.
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