A Night in the Underworld: Hosting Your Own Hadestown-Themed Event
Attention, gods, mortals, and everyone in between! Broadway Utica is bringing Hadestown to The Stanley next Tuesday and Wednesday, and if you’re as obsessed with this Tony-winning musical as we are, why not keep the party going with a Hadestown-themed event? Whether you’re throwing a pre-show bash, a watch party, or just want to set the mood for a night of myth and music, we’ve got you covered with everything you need to transform your space into your very own underworld speakeasy. Let’s dive in!
Dress the Part: From Jazz Club Chic to Mythological Majesty
First things first—costumes! Hadestown blends the glitz of a jazz club with the grit of an industrial underworld, so the options are endless. Want to channel Persephone’s free-spirited vibe? Go for vintage glam: flowy dresses, bold accessories, and a glass of wine in hand at all times (we’ll get to that soon). Feeling a little more Hades? Dark, tailored suits or sleek black outfits will make you look like you’re ready to run the underworld—just make sure you don’t look too intimidating, we don’t need anyone ruling over the party.
And if Orpheus and Eurydice are more your style, go for a simple, bohemian look. Think linen shirts, suspenders, and flower crowns—whether you’re the hopeful romantic or the world-weary wanderer. Extra points if you carry a guitar (even if it’s just for show).
Speakeasy Vibes: DIY Décor for the Underworld
To truly set the mood, transform your space into the underground world of Hadestown. Start by dimming the lights and adding warm, low lighting—think string lights, vintage lamps, or even candles if you want to get really moody. For an industrial touch, use exposed brick walls or pipe décor, and mix in some dark, lush greenery to give the space an earthy, underground feel.
Create an entrance that feels like guests are descending into the underworld (but, you know, in a fun way). Use black curtains, drape fabrics, or even some fake vines to give it that “just beyond the mortal world” vibe. And for a little extra drama, hang a sign that reads “Welcome to Hadestown—Leave Your Hope at the Door.” (Kidding! Mostly.)
Persephone’s Signature Drink: Wine with a Twist
You can’t have a Hadestown party without paying tribute to the queen of the underworld herself, Persephone. And what’s Persephone’s drink of choice? Wine, of course! But let’s add a twist to make it more Hadestown-inspired.
For a signature drink, try a pomegranate sangria. It’s bold, it’s rich, and it’s got that mythical vibe that will have everyone feeling like they’re on a summer trip to the underworld. You can mix red wine with pomegranate juice, add slices of orange, apple, and some fresh pomegranate seeds. Toss in a cinnamon stick for a little extra kick, and there you go—Persephone’s official cocktail.
Not a fan of wine? No problem! How about a “Hades Old Fashioned”? Strong, dark, and just a little bitter—much like the man himself. Think whiskey, a splash of orange bitters, and a cherry on top for a drink that packs a punch.
The Soundtrack to Your Underworld
No party is complete without music, and with Hadestown, you’ve got a killer playlist built right into the show. Create a mix that includes the Hadestown cast album (obviously), but also add in some New Orleans-inspired jazz to keep the energy up. You can throw in some moody folk tunes to honor Orpheus’ singer-songwriter heart, and maybe even a little blues for Hades’ darker side.
For a fun twist, mix in modern artists like Hozier, Florence + The Machine, and Lana Del Rey—singers who capture that dark, romantic, mythological energy. Soon enough, you’ll have everyone feeling like they’re lost in the music, just like the characters themselves.
Food Fit for the Gods (and Mortals)
Let’s not forget about the food. Keep things simple but atmospheric—hearty, rustic dishes that feel like they could be served in a back-alley speakeasy or a mythological feast. Think breads, cheeses, olives, and grapes to start. For the main course, go for something like lamb skewers, roasted vegetables, or even a charcuterie board with a variety of meats and spreads.
For dessert? You can’t go wrong with something pomegranate-based (keeping that Persephone theme going), or a decadent dark chocolate cake to satisfy your inner Hades.
Final Touch: The Underworld Photo Booth
Last but not least—make sure to set up a little photo booth so your guests can capture their night in the underworld! Create a backdrop using those dim lights and vines we talked about earlier, and add some fun props—think flower crowns, fake guitars, and a few devilish accessories for those who want to get into the Hades spirit.
And don’t forget to encourage everyone to strike their best “tragic love story” pose. After all, it wouldn’t be a Hadestown event without a little drama.
With your space transformed, your guests decked out, and a signature drink in hand, you’ll be ready to throw a Hadestown night worthy of Persephone and Hades themselves. So, whether you’re headed to The Stanley to see the show in person or just want to celebrate the story from home, this party guide will make sure your night in the underworld is unforgettable.
Just remeber—keep your wits about you and whatever you do, don’t look back.
Get Into the Holiday Spirit with “Pinkalicious The Musical” Coming to The Oncenter Carrier Theater on Saturday November 2nd!
As the holiday season approaches, there’s no better way to kick off the festivities than with the beloved family-friendly show Pinkalicious The Musical! Celebrating its 18th anniversary, this long-running hit by the Vital Theatre Company will make a highly anticipated stop at The Oncenter Carrier Theater on November 2nd for a Saturday afternoon matinee, choose from two convenient times 11:00 am or 3:00 pm!
Based on the best-selling children’s book Pinkalicious by Elizabeth Kann and Victoria Kann, this enchanting one-hour musical features a book and lyrics by the Kanns, with music, lyrics, and orchestrations by John Gregor. Directed by Teresa K. Pond, following the original direction by Suzu McConnell-Wood, Pinkalicious The Musical promises a delightful and engaging experience for young audiences and their families.
In this whimsical production, Pinkalicious can’t resist her love for pink cupcakes, despite her parents’ warnings. Her indulgence leads to an unexpected visit to the doctor’s office, where she is diagnosed with “Pinkititis,” turning her completely pink—a dream come true for the pink-loving protagonist. However, when things go too far, it’s up to Pinkalicious to find a solution to her colorful predicament.
Bring the family and embrace the joy of the holidays by enjoying this charming children’s theatre production! Tickets for the performance go on sale today. The event will be held at The Oncenter Carrier Theater in Syracuse, NY, and is recommended for children ages 2 to 7.
IMPORTANT EVENT AND TICKET INFO:
Address: 760 S. State Street, Syracuse, NY 13202
Phone: 315.435.2121
The Solvay Bank Box Office at The Oncenter is your single source for event and ticket information. Tickets may be purchased in person, by phone, or online at ticketmaster.com. Special FAMILY PACK OFFER, save 25% off when you purchase four tickets, click the Me + 3 option on ticket page.
Get into the holiday spirit with this vibrant and memorable performance that celebrates the joy and creativity of childhood through the magic of musical theatre. Pinkalicious The Musicalis presented by the Broadway Theatre League of Utica and can also be purchased through BroadwayUtica.org.
Get ready to rock as Gary Mullen & The Works bring their world-renowned “One Night of Queen” live concert to The Oncenter Crouse Hinds Theater in Syracuse, NY, on Tuesday, April 15, 2025, at 7:00 pm. This electrifying tribute show celebrates the 40th anniversary of Queen’s iconic ‘The Works Tour’ and promises an unforgettable night of music, energy, and nostalgia.
For over 20 years, Gary Mullen & The Works have been captivating audiences worldwide with their faithful and dynamic recreation of Queen’s legendary concerts. Featuring Gary Mullen on vocals, David Brockett on guitar, Malcolm Gentles on keyboards, Jon Halliwell on drums, and Alan McGeoch on bass guitar, the band embodies the spirit and stagecraft of one of the greatest rock bands of all time: Queen.
Gary Mullen’s journey began in 2000 when he won the Granada TV program “Stars in Their Eyes” with his stunning portrayal of Queen’s iconic frontman, Freddie Mercury. Mullen’s performance earned him 864,838 votes in the show’s Live Grand Final, setting the record for the highest number of votes ever received on the program. His extraordinary talent and uncanny resemblance to Mercury have made him a sensation, leading to over two decades of successful performances with The Works.
Having performed more than 2,500 live shows across 20 countries, Gary Mullen & The Works have played to packed venues around the globe, including many that Queen themselves once rocked. As of 2023, they are recognized as the most successful tribute band in France, drawing over 250,000 fans!
Prepare to be swept off your feet as “One Night of Queen” delivers the epic stage theatrics, showmanship, and powerful music that defined Queen’s legacy. From “Bohemian Rhapsody” to “We Will Rock You,” this concert is guaranteed to blow your mind and have you dancing in the aisles.
Ticket Information: Tickets for “One Night of Queen” can be purchased at The Solvay Bank Box Office at The Oncenter, either in person, by phone, or online. 760 S. State Street, Syracuse, NY 13202 or call 315-435-2121. Don’t miss this chance to relive the magic of Queen on Tuesday, April 15, 2025, at 7:00 pm.
About Gary Mullen & The Works: Gary Mullen & The Works have been performing their tribute to Queen for over two decades, capturing the essence of Freddie Mercury and the band’s legendary live performances. The group’s dedication to authenticity and passion for Queen’s music have made them a global sensation, performing to enthusiastic audiences around the world.
Relive the timeless love story of Baby and Johnny as global content leader Lionsgate (NYSE: LGF.A, LGF.B), GEA Live, Karl Sydow and Innovation Arts & Entertainment announce Dirty Dancing in Concert– celebrating the film favorite on a full-size cinema screen with a band and singers live on stage. With a soundtrack that defined a generation, Dirty Dancing in Concert promises to bring a new thrilling experience to the 80s classic! Dirty Dancing in Concert comes to the Stanley Theatre, Utica on January 24, 2025. Tickets are available at The Stanley box office (259 Genesee Street, Utica), by visiting BroadwayUtica.org, or by calling The Stanley box office at 315-724-4000. Group orders of 10 or more may be placed by calling Broadway Utica directly at 315-624-9444.
Audiences attending Dirty Dancing in Concert will experience the hit film in a unique and unforgettable way. A complete screening of the digitally remastered film will play as a five-piece band and vocalists perform the songs live, in sync with the film. Stay for the encore party and continue to sing and dance along with the band to your favorite Dirty Dancing songs.
Dirty Dancing in Concertwill tour in the Fall of 2024 stopping in 42 cities. Fans will have a new way to immerse themselves in the world of Dirty Dancing while celebrating the classic they know and love.
Dirty Dancing, written by Eleanor Bergstein, directed by Emile Ardolino, and starring Patrick Swayze and Jennifer Grey in their most iconic movie roles, was a worldwide box-office sensation when it was released in 1987. Its soundtrack generated two multi-platinum albums and multiple singles, including the Academy Award®-winning best original song “(I’ve Had) The Time of My Life”. Grossing more than $213 million worldwide, Dirty Dancing captured the hearts of audiences everywhere.
Set in the summer of 1963, Baby Houseman (Jennifer Grey) and her family vacation to the beautiful Catskills resort, Kellerman’s. Intrigued by the staff’s dance instructor, Johnny Castle (Patrick Swayze), and the vastly different lifestyle of others, Baby finds herself learning to dance while having the time of her life and falling in love. It is a summer she’ll never forget.
Dirty Dancing in Concert’stour joins a series of live-to-film concerts touring internationally based on Lionsgate properties, including the highly successful La La Land in Concert, with more than 125 performances in 25 countries to date.
Broadway Utica’s Rise for a Purpose: A New Era with MV Gives
Broadway Utica is thrilled to be participating in MV Gives, a recognition that marks a transformative moment for both the organization and the Mohawk Valley community. This exciting development breathes new life into the “Rise for a Purpose” campaign, an initiative that goes beyond mere fundraising—it embodies a mission to uplift, inspire, and bring people together through the magic of theater.
For over 65 years, Broadway Utica has been a beloved fixture in the Mohawk Valley, not only bringing world-class productions to local stages but also fostering a profound connection between the arts and the community. The organization’s performances do more than entertain; they spark conversations, build connections, and plant seeds of creativity that grow long after the final curtain call.
The heart of Broadway Utica is its unwavering commitment to the community, especially its youth. Programs like the Youth Ambassador Program, Students on Broadway, Beyond the Stage, and UticaWorx are more than just opportunities—they are invitations for local students to step into the spotlight, unlock their creativity, build confidence, and explore leadership. Every contribution made through the campaign directly supports these initiatives, ensuring they continue to make a meaningful difference in the lives of young people.
The support from MV Gives is especially significant because it empowers Broadway Utica to keep evolving and innovating. The arts are ever-changing, and this funding ensures that the organization can continue to offer fresh, impactful experiences to the region. The programs funded by the Rise for a Purpose campaign are designed with the future in mind, providing today’s youth with the tools and opportunities needed to become tomorrow’s leaders.
The students who are part of the audience today are the very individuals who will shape the future of the Mohawk Valley. By giving them access to these enriching experiences, Broadway Utica is not only nurturing their love for the arts but also fostering a sense of belonging and possibility. It’s a reminder that they have a voice, a place in the world, and a future full of potential.
With the support of MV Gives, Broadway Utica is poised to continue its journey of creativity and impact. The future of the arts in the Mohawk Valley shines brightly, and this partnership ensures that Broadway Utica remains a vibrant, inspiring force in the community, bringing joy, education, and opportunity to all for generations to come.
ANAÏS MITCHELL: I was just at the beginning of a career as a singer-songwriter and I was driving from one tip gig to another when the melody of “Wait for Me” dropped out of the sky. It came with some long-lost lyrics that seemed to describe the Orpheus & Eurydice myth, which had been a favorite of mine as a kid. I started to follow the thread into the labyrinth and I think what inspired me most about retelling that story was the idea of pitting young, creative, optimistic Orpheus against an underworld where “the rules are the rules.” Over many years of development, I’ve identified with many different characters. But at first it was the idea of Orpheus, who believes if he could just write something beautiful enough, he could move the heart of stone, he could change the way the world is—that was inspiring to me.
Q: Rachel, was there something specific that drew you to Hadestown?
RACHEL CHAVKIN: I’ve never encountered a score that feels so singular in its style while still taking up some of the storytelling rules that musical theater goes by. Hadestown is by far the hardest thing I’ve ever directed. It was a delicate balance as to how much to keep it feeling like a concert versus a play.
Q: Anais, you and Rachel seem to be the winning combination. How did you meet, and what has the collaboration been like?
AM: In 2012 I saw the Ars Nova production of Dave Malloy’s Natasha, Pierre & the Great Comet of 1812. I was completely awestruck and I thought, “Who’s that director?” It turned out to be Rachel. Hadestown began as a DIY community theater project in Vermont, then became a studio album and a touring concert, and at the time I met Rachel I was searching for a way to develop the piece into a full-length professional musical. Great Comet, like many of Rachel’s shows, had this combination of highly accessible Broadway-style entertainment, and also real unapologetic downtown weirdness. Rachel has a great feel for music and musicals and how to bring the best aspects of concert culture into the theater. But what turned out to be the most essential thing about my collaboration with her is that Rachel’s a gifted dramaturge, and she’s not afraid to really roll up her sleeves in the development process of a show. We worked together for three years before we got an off-Broadway production, and three more before we landed on Broadway. She pushed me—a songwriter with almost no dramatic writing experience—to write, and rewrite until the drama was satisfying.
Q: There are a lot of women that brought Hadestown to life. From Anaïs’s writing to Rachel’s direction, and Rachel Hauck’s scenic design. Was this intentional?
AM: You know, I had no idea Rachel was a woman when I fell in love with her work. I don’t think it was our intention to build a female-led team, but we sought out the folks whose work we responded to most, and many of them were women. A big part of the equation is that our two lead producers are women: Mara Isaacs and Dale Franzen. I will say it was an extraordinarily empowering experience working with so many women. I felt my instincts were really trusted. Challenged at times, of course! But ultimately, trusted in a deep way.
Q: When casting and building the show, Rachel and Hadestown’s production team were extremely mindful of diversity and inclusion. Anaïs, did you write Hadestown with particular people in mind?
AM: All of Rachel’s shows are gloriously diverse. Theater depicts and celebrates humanity, and humanity is diverse. The main thing we were looking for in our casting was a kind of singular rockstar unicorn quality. The music is really built for people to bring the individual force of their personality to it.
Q: Rachel, did you intend to build a diverse cast?
RC: Oh, absolutely! I think diversity is inextricable from excellence, and I think all too often people, and in particular the dominant culture tends to frame it as a choice that you have to make between diversity and excellence. I personally think it’s the opposite. I think a [diverse] room is far more interesting, just purely on a dramatic level. It’s so much better stylistically, emotionally to have varied voices. And so yes, with Hadestown specifically, we have reaffirmed time and again that racial diversity in particular is core to our vision of excellence.
Q: When Hadestown moved to Broadway, the show sought out theater critics of color to review it. Was it important to you to get a wide variety of critiques of the show?
AM: We desperately need a diversity of voices in our criticism. How else will criticism be able to speak to people in a meaningful way?
Q: Rachel, can you tell me why creating spaces for diversity and inclusion in your projects is so important to you?
RC: I think specifically because I am a white woman in the sense that I am part of half the world’s population that can live our lives every day with the knowledge that we are vulnerable to the other half of the world’s population. I have felt gender as a determinant in my career path multiple times and in multiple ways. I have experienced sexual harassment and sexual assault and so I am on that side of the equation of when it comes to that. And at the same time, I have enormous privilege that comes with whiteness, that also comes with having two highly educated parents who made me the center of their [world]. I grew up enormously fortunate in terms of my family’s ability to invest in me and my interests. To quote a franchise, with great power comes great responsibility. I had the ability.
Q: The show has traveled a lot pre-Broadway. How have the out-of-state audiences influenced the editing of the show?
AM:Hadestown had a very long road to Broadway, with pitstops not just out of state but out of country. We did a production in Edmonton (Canada) in 2017 and then London’s National Theatre in 2018. The Edmonton production was so important, as we were trying to figure out how to “scale-up” the show from the tiny, in-the-round version at New York Theater Workshop, to a proscenium-style theater, with a larger ensemble of actors. We learned so much from those Canadian audiences about what the show did—and didn’t—want to be. It was powerful to perform the show in London on the Olivier Stage that has presented so many classic Greek works and Shakespeare plays. I remember Rufus Norris, the director of the National Theatre, expressing views that often put art before commerce—for example, he was not a great fan of “buttons” (those zazzy definitive endings of songs that encourage the audience to applaud, which appear SO often on Broadway). And it felt timely to be telling this tale in the UK in the thick of Brexit. It’s incredible the way there are regional differences in terms of which lines people find funny, which scenes they find tragic, which songs make them dance in their chairs.
RC: You know, I tend to try to trust the fact that the audiences are really smart and also they are very individual. An audience in Texas is going to experience a very different thing than an audience in California than an audience in Minnesota. And so all I can really do as a director is try to adjust to what feels most meaningful to me. And then I have to trust that because I’m not an alien. Some other humans out there will resonate with it as well.
We did, however, do the show off-Broadway, and then took it to Canada, and did it for the first time in proscenium and I made a number of mistakes when we first brought it into proscenium for a larger audience. I let the production get to what in the theater we call representative. I literalized the metaphor and me and my set designer, Rachel Hauck, we actually put railroad tracks on stage. Because there’s the lyric, “On the road to hell, there is a railroad line…” And that turns out it’s a really bad idea to try to stage a metaphor. I can laugh about it now.
Q: While Hadestown is loosely based on characters many fans of Greek mythology may know, who was the hardest character to write for and why?
AM: Orpheus was by far the hardest character for me to write, in part because he’s more “pure” than any other character. Hades, Persephone, and even Hermes and Eurydice have a sort of jaded quality, a world-weariness that is much easier to grasp and to write for. Orpheus is a dreamer, a genuine optimist, and that has been a challenge to discover and to express in writing. It’s hard to take an optimist seriously! For a long time, his optimism came across as overconfidence, which wasn’t in keeping with his sensitive soul.
Q: To the world we dream about, and the one we live in now,” and “If no one takes too much, there will always be enough.” These lyrics mean something different today than they did when Hadestown first opened on Broadway. Can you recall exactly what you were feeling the moment you wrote those specific words, and what they mean for you right now?
AM: To me, those first lines are a reminder that even in hard times, there’s beauty and bravery and cause for celebration. There’s beauty in the struggle for a better a world even if we can’t yet see the result of that struggle. One of the main themes in Hadestown is that there’s value in trying, even if we fail. Orpheus is a hero not because he succeeds—but because he tries!
It meant so much to me to watch our cast perform at Macy’s Thanksgiving Day Parade, and to hear Reeve as Orpheus deliver the lines “And if no one takes too much, there will always be enough.” Something about hearing those lines out loud in a mainstream setting really moved me. Because we live in a culture that takes a lot—we take more from nature than she can sustainably provide. The excesses of a few mean that many go without.
Q: Let’s talk about “Why We Build the Wall.” You wrote that song well before this new political climate, yet the song has completely taken on a new voice. Can you take me through your journey of creating that song? What was your vision for it?
AM: I wrote that song in 2006, and it’s one of the few songs that I wrote very quickly, all in one sitting, almost before I understood what it meant. But I do remember what I was thinking about at the time, and that was this: I was imagining a climate in crisis, a world in which many places had become uninhabitable and there were large populations of migrants knocking at the gates of the places of relative wealth and security. And the thought that popped into my head was, “when that happens, who among us is not going to want to be behind some kind of wall?” Leaders (like Hades in Hadestown) have found it effective to use the language of the wall because it speaks loudly to a scared citizenry. The next thought that crossed my mind was the way walling others out has the equal and unintended effect of walling ourselves in.
Q: The presentation of “Why We Build the Wall” is the only number with no added frills—light choreography, somber lighting—it feels more like a conversation with the audience. Rachel, can you tell me what your vision was for the staging of that song?
RC: The vision for the song was to be as simple and indisputable in its clarity and its politics of fear as the song itself is. And Anaïs is probably the slowest and most specific writer I’ve ever worked with because she’s such a poet, and so she gets angry when songwriters describe, “Oh, I just sat down with my guitar and the song came out.” But she does admit the fact that “Why we Build the Wall” as the song came to her almost cosmically in its full form. As if it had always existed in the atmosphere and she just heard it. The vision was to capture that—a fascist regime in some ways indisputable because it’s so forceful and so clear. We just wanted to make sure the staging, including the lighting design was as simple as the song.
Q: We’re currently dealing with a terrifying pandemic. While many are hopeful, no one knows how this will end or what theater will be like when it reopens. What do you think the show will mean for the post COVID-19 audience?
RC: For me, Hadestown has always been about community. I talked about it in my TONY speech, of how power tries to make us feel alone. But that if we can stand, if we can remember that our lover or our friend may be right behind us. We’re all walking side by side. And I don’t think you need to literally—as in the case of Orpheus and Eurydice—be holding someone’s hand in order to feel fellowship. I think that will remain true and be of comfort in these horrible times.
AM: Most simply, I hope audiences will feel healed by the music (at the risk of sounding like a hippie!). I also think the message of Hadestown is one that really speaks to this present moment—it’s a story about hard times, and how people respond to those hard times, sometimes with fear, sometimes with love. And it’s about the necessity of continuing to try even in the face of what feels, at times, futile. It’s also, in a sense, at its climax, a story about the necessity of believing in each other and in our togetherness, even when we feel alone.
Could Hadestown writer and composer, Anaïs Mitchell have subconsciously predicted key elements of the world’s most devastating global crisis? The show’s world is one of suffering. Power and wealth reign supreme; the poor go hungry; seasons are unstable; and love is lost. In the real world, COVID-19 wreaks havoc, systematic racism forces persistent protest, border security fuels contentious debate, unemployment skyrockets, and climate change happens in real time. These challenges engulf our world beyond the theater as much as they do the musical’s dark side, sparking the show’s revolutionary score.
The fact that Hadestown feels so relevant may seem surprising, considering that its composition started more than a decade ago. Mitchell conceived “Wait for Me,” a fiery declaration song at the center of the score, several years before Hadestown saw a Broadway stage, early in her singer-songwriter career. “I was driving from one tip gig to another when the melody of ‘Wait for Me’ dropped out of the sky,” says Mitchell, who wrote Hadestown’s book, music, and lyrics. “It came with some long-lost lyrics that seemed to describe the Orpheus & Eurydice myth, which had been a favorite of mine as a kid.” Like his Classical predecessor, Mitchell’s Orpheus can change the world through music. Viral videos of hopeful Italians singing from their balconies during COVID-19 quarantine show that Orpheus’s ethos thrives throughout the globe. “I think what inspired me most about retelling that story was the idea of pitting young, creative, optimistic Orpheus against an underworld where ‘the rules are the rules,’” Mitchell says. “At first it was the idea of Orpheus, who believes if he could just write something beautiful enough, he could move the heart of stone. He could change the way the world is.”
Embracing music’s ability to trigger a spectrum of emotions, Mitchell wrote Hadestown to encompass healing powers, inviting audiences on a sacred pilgrimage to Hell and back. The musical’s more distinct lines, like “To the world we dream about, and the one we live in now,” and “If no one takes too much, there will always be enough,” offer hope to many in the present moment. “To me, those first lines are a reminder that even in hard times, there’s beauty and bravery and cause for celebration. There’s beauty in the struggle for a better world even if we can’t yet see the result,” Mitchell explains. “Orpheus is a hero not because he succeeds—but because he tries!”
Orpheus offers a glimpse at humanity’s fullest power by following through on his conviction for goodness and beauty. “Orpheus was by far the hardest character for me to write, in part because he’s more ‘pure’ than any other character,” Mitchell explains. “Hades, Persephone, and even Hermes and Eurydice have a sort of jaded quality, a world-weariness that is much easier to grasp and to write for. Orpheus is a dreamer, a genuine optimist, and that has been a challenge to discover and to express in writing. It’s hard to take an optimist seriously! For a long time, his optimism came across as overconfidence, which wasn’t in keeping with his sensitive soul.” Orpheus is the blueprint for optimism accelerating healing. His character urges audiences to look a little deeper for the good in the world, even if that search appears foolhardy.
As its characters quite literally travel the road to Hell, Hadestown encourages audiences to experience that which feels harsh and might seem inevitable, but cautions against letting such a harrowing journey breed fear or despair. “Why We Build the Wall,” the show’s bombastic Act 1 finale sung by a domineering Hades, for example, highlights the exclusionary powers of borders. “I wrote that song in 2006, and it’s one of the few songs that I wrote very quickly, all in one sitting, almost before I understood what it meant,” says Mitchell. “I was imagining a climate in crisis, a world in which many places had become uninhabitable and there were large populations of migrants knocking at the gates of the places of relative wealth and security. And the thought that popped into my head was, ‘When that happens, who among us is not going to want to be behind some kind of wall?’ Leaders (like Hades in Hadestown) have found it effective to use the language of the wall because it speaks loudly to a scared citizenry. The next thought that crossed my mind was the way walling others out has the equal and unintended effect of walling ourselves in.”
Mitchell’s concern has proven prescient. Since the World Health Organization declared the coronavirus outbreak a pandemic, leaders around the globe have ordered citizens to remain locked within the walls of their homes while also shutting down borders to immigration and travel. During mandated stay-at-home orders, the world watched in horror for 8 minutes and 46 seconds the murder of George Floyd, another un-armed Black killed at the hands of police. Floyd’s unjustified death by those paid to protect and serve, sparked a universal outcry of “Black Lives Matter,” and “Enough is Enough.” Hadestown offers dogged hope in the face of seemingly endless gloom. As the pandemic rages and citizens of the world remain “walled in,” we have the same opportunity as Orpheus to focus on making the world a better place. He reminds us not to use material goods as the only source of satisfaction and happiness, but to look deeper for the music striking cords of love, humanity, equality, peace, and spirituality.
Creating a new benchmark for Broadway, Hadestown demanded that theater make space for diverse voices. The show’s modern premise reflects the values of our changing culture through a transformative musical experience that reimagines Greek mythology. In 2019, it garnered 14 TONY nominations, winning eight of them, including Best New Musical. Critics praised the show as a “theatrically resonant tale” (Elysa Gardner, New York Stage Review), and “a haunting gut-punch of a new musical” (Naveen Kumar, Towleroad). Hadestown will go down in history as one of Broadway’s most celebrated productions, but beyond its critical acclaim, it is the show’s diversity that cements the musical’s lasting influence.
One recipe for a great musical is the union of an innovative writer and an insightful director, unafraid of expanding that writer’s vision beyond the page. Anaïs Mitchell, writer of Hadestown’s book, music, and lyrics, and director Rachel Chavkin, the women behind the show’s greatness, accentuate and deepen each other’s strengths. Between them, they found compatibility, commitment to the project, and the meaning of excellence. It was a mutual respect for each other’s art that sparked their union. “You know, I had no idea Rachel was a woman when I fell in love with her work,” says Mitchell. “We sought out the folks whose work we responded to most, and many of them were women.” Much of Hadestown’s production and technical team include women at the forefront. Such a dynamic is a rarity on Broadway, but paid great dividends for Hadestown. “I will say it was an extraordinarily empowering experience working with so many women. I felt my instincts were really trusted,” says Mitchell. Hadestown’s great success shows that diversity is not simply about gender or racial differences; it is also about differences in background and mindset.
Mitchell was introduced to Chavkin’s work in 2012 when she saw the Ars Nova production of Dave Malloy’s Natasha, Pierre & the Great Comet of 1812. “I was completely awestruck, and I thought, ‘Who’s that director?’ It turned out to be Rachel,” Mitchell says. The production later moved to Broadway and earned Chavkin her first TONY nomination. Mitchell’s discovery of Chavkin’s work came at a valuable time in Hadestown’s development. Initially a DIY community theater project in Vermont, Mitchell would develop the show into a studio album and then a touring concert. But Hadestown would prove to need the influence of Chavkin before it could reach its fullest potential as the folk opera that thrilled Broadway audiences. Mitchell decided to seek out Chavkin’s talents while trying to develop Hadestown into a full-length professional musical. “Great Comet, like many of Rachel’s shows, had this combination of highly accessible Broadway-style entertainment and also real unapologetic downtown weirdness,” remembers Mitchell, admiringly. “Rachel has a great feel for music and musicals and how to bring the best aspects of concert culture into the theater.” Hadestown became a product of each artist’s greatest strengths, blending Mitchell’s eloquent songbook with Chavkin’s innovative directorial style.
Chavkin says that she was drawn to Hadestown because of its poetic nature, admiring its balance of innovation and tradition: “I’ve never encountered a score that feels so singular in its style while still taking up some of the storytelling rules that musical theater goes by.” Although Chavkin says Hadestown is the hardest show she’s ever directed, Mitchell liked the way Chavkin challenged her and the show. “Rachel’s a gifted dramaturg and she’s not afraid to really roll up her sleeves in the development process of a show. We worked together for three years before we got an off-Broadway production, and three more before we landed on Broadway,” says Mitchell, adding: “Rachel [gave me] ‘tough love’ and she pushed me—a songwriter with almost no dramatic writing experience—to write and rewrite until the drama was satisfying.”
Chavkin’s contributions helped escort Hadestown to Broadway’s pinnacle, where she was also recognized for excellence. She was the only woman nominated for a 2019 TONY in the Best Direction of a Musical category, which she won. “Women are very well represented on Broadway as performers and as writers, but when you look at the small number of women directing on Broadway it is shocking and more than a little depressing,” wrote Wicked producer David Stone in 2005. Little changed in the 15 years between Stone’s article and Chavkin’s win, and so Chavkin used the platform of her acceptance speech to advocate for the hiring of women and people of color in theatre: “There are so many women who are ready to go. There are so many artists of color who are ready to go. And we need to see that racial diversity and gender diversity reflected in our critical establishment, too. This is not a pipeline issue. It is a failure of imagination by a field whose job is to imagine the way the world could be.”
When assembling teams for her productions, Chavkin draws from the best and selects the most talented artists. By intentionally embracing inclusivity, she builds a diverse company that understands the needs of a global audience. “I think diversity is inextricable from excellence, and I think all too often people, and in particular the dominant culture tends to frame it as a choice that you have to make between diversity and excellence. And I personally think it’s the opposite,” Chavkin assures. “I think a [diverse] room is far more interesting, just purely on a dramatic level. It’s so much better stylistically, emotionally to have varied voices. And so, with Hadestown specifically, we have reaffirmed time and again that racial diversity in particular is core to our vision of excellence.”
Although there are numerous notable women working off-stage and challenge the status quo, Hadestown’s lead producer, Mara Isaacs says there’s still more work to be done. “Hadestown is built on a set of core values – the power of community, equity, diversity, and inclusion,” says lead producer Isaacs. “We are proud of the incredible women who helm this production and the talented and diverse company that brings it to life, but we recognize that there is always more work to do. We must continue to strive for equity – gender, racial, and otherwise – throughout our industry, not just on stage. This is a challenge that we must recommit to every single day.”
“Theater depicts and celebrates humanity, and humanity is diverse,” asserts Mitchell. And so, thanks to the shared commitments of its creators, Hadestown strives for connection to every human experience, showing diversity to be colorful, productive, and exciting.
TINA – THE TINA TURNER MUSICAL NORTH AMERICAN NATIONAL TOUR PLAYS UTICA AT THE STANLEY THEATRE THIS OCTOBER 22-23
TINA – The Tina Turner Musical was written by Tony Award nominee and Pulitzer Prize winner Katori Hall with Frank Ketelaar and Kees Prins. The new tour is produced by Crossroads Live North America. A full tour route is available at TinaOnBroadway.com.
The cast is led by singer-songwriter Jayna Elise. Formerly known as Jayna Brown, Elise has appeared on stages with the likes of Tyler Perry, Queen Latifah, and more with her biggest appearances being on the hit TV shows, “America’s Got Talent” and “American Idol”; both for which she was a finalist.
Jayna Elise is joined on tour by Sterling Baker-McClary (Ike Turner/Ronnie Turner), Elaina Walton (Zelma Bullock), Mona Swain (Tina Turner at certain performances), Deidre Lang (Gran Georgeanna) and Kristen Daniels (Rhonda Graam/Toni Basil).
The ensemble includes Maurice Alpharicio, Catrina Brenae, Taylor Brice, Mya Bryant, Audrey Taylor Floyd, Chelsea Nicole Green, Charis Michelle Gullage, Callie Holley, Joe Hornberger, Jeffrey May Hyche, Daniyah Jezel, Morgan Lewis, Ashley D. Lyles, Bear Manescalchi, Darius J. Manuel, Pharaoh Mouton, Natalia Nappo, Steven Sawan, Albert Sterner, Ephraim Takyi, Hunter Torr, and Paul Watt-Morse.
TINA -The Tina Turner Musical is Directed by Tony Award nominee Phyllida Lloyd and Associate Director Sharika Niles with Choreography by Tony Award nominee Anthony van Laast and Associate Choreographer Janet Rothermel, Set and Costume Designs by Tony Award nominee Mark Thompson with Associate Scenic Designer Brian Webb and Costume Coordinator Kaitlyn Barrett, additional Music and Arrangements by Nicholas Skilbeck with Music Supervision by Alvin Hough Jr., Lighting by Tony Award nominee Bruno Poet with Associate Lighting Designer John Viesta and Assistant Lighting Designer Ken Wills, Sound by Tony Award nominee Nevin Steinberg and Associate Sound Designer Jaechelle Johnson, Projection Design by Tony Award nominee Jeff Sugg with Associate Projection “Designer Simon Harding and Animator Brittany Bland, Orchestrations by Tony Award nominee Ethan Popp, Wigs, Hair and Makeup Design by Drama Desk Award winner Campbell Young Associates with Hair & Wig Coordinator Liz Printz and Casting by Murnane Casting.
The musical reveals a comeback story like no other, of a woman who dared to defy the bounds of racism, sexism and ageism to become the global Queen of Rock n’ Roll. TINA – The Tina Turner Musical is a celebration of resilience and an inspiration of triumph over adversity.
One of the world’s best-selling artists of all time, Tina Turner won 12 Grammy Awards, and her live shows have been seen by millions, with more concert tickets sold than any other solo performer in music history. Tina Turner’s contribution as an iconic music artist and performer, her influence on fellow artists and her inspiration to generations who followed, is legendary. Through her life story and her music, Tina Turner inspired and taught so many people around the world to find strength from within.
Tina Turner was a 2021 Rock & Roll Hall of Fame nominee. She was inducted into the Rock & Roll Hall of Fame in 1991 as a duo alongside Ike Turner but has never been inducted in recognition of her solo work.
Originally produced by STAGE Entertainment, TINA -The Tina Turner Musical opened at the Aldwych Theatre on London’s West End in 2018 before a global roll-out that brought the show to sold-out audiences across the world. In North America, the Broadway production opened in November 2019 and was nominated for 12 Tony Awards including Best Musical and spurred a two-year national tour. A new touring production, produced in collaboration with Crossroads Live North America will launch in Fall 2024 and continue a multi-year tour of North America. In Europe, TINA has had productions at Stage Operettenhaus in Hamburg, Germany, the Apollo Theater in Stuttgart, Germany, the Beatrix Theater in Utrecht, Netherlands and at the Teatro Coliseum in Madrid, Spain. TINA can also be seen currently touring across Australia, having just finished a sell-out season at Theatre Royal Sydney.
TINA – THE Tina Turner Musical has captured the hearts of audiences around the globe with its powerful storytelling, incredible performances, and iconic music. The musical is a true celebration of this exceptional woman, and we continue to celebrate her life, her talent, and her joy. Her legacy lives on.
TINA – The Tina Turner Musical will be playing at The Stanley Theatre on October 22 – 23, 2024. Tickets are available at The Stanley box office (259 Genesee Street, Utica), by visiting BroadwayUtica.org, or by calling The Stanley box office at 315-724-4000. Group orders of 10 or more may be placed by calling Broadway Utica directly at 315-624-9444. For more information, visit TinaOnBroadway.com.
CAROLEE CARMELLO to Star in the National Tour of the 2023 Tony Award-Winning BEST MUSICAL KIMBERLY AKIMBO
• Winner of 5 Tony Awards, including Best Musical
• New York Drama Critics’ Circle Award Winner for Best Musical
• Lucille Lortel Award Winner for Outstanding Musical
• Outer Critics Circle Award Winner for Outstanding Off-Broadway Musical
• Drama Desk Award Winner for Best Musical
The producers of KIMBERLY AKIMBO are proud to announce that three- time Tony Award nominee Carolee Carmello will play Kimberly in the National Tour. KIMBERLY AKIMBO, winner of five 2023 Tony Awards including BEST MUSICAL, was the most critically-acclaimed musical of its season.
KIMBERLY AKIMBO will make its Utica premiere at The Stanley Theatre, THIS WEEKEND, September 14 – 15, 2024. Tickets are available at The Stanley box office (259 Genesee Street, Utica), by visiting BroadwayUtica.org, or by calling The Stanley box office at 315-724-4000. Group orders of 10 or more may be placed by calling Broadway Utica directly at 315-624-9444.
Carolee Carmello is a three-time Tony Award nominee and has appeared in 16 Broadway musicals, including Mamma Mia!, Kiss Me, Kate, The Addams Family, for which she received a Drama Desk nomination and Outer Critics Circle nomination, Parade, for which she received a Tony nomination and Drama Desk Award, Lestat, for which she received a Tony nomination and Drama Desk nomination), Tuck Everlasting, Finding Neverland, City of Angels, Falsettos,
Scandalous, for which she received a Tony nomination and Drama Desk nomination, The Scarlet Pimpernel, Urinetown, Sister Act, two revivals of 1776, and most recently Bad Cinderella. Off-Broadway, Carolee has starred in john & jen, Das Barbecü, I Can Get It For You Wholesale, Hello Again, for which she received an Obie Award, A Class Act, The Vagina Monologues, Elegies and the critically-acclaimed, immersive Sweeney Todd. Her screen credits include “Dopesick,” “The Marvelous Mrs. Maisel,” “Madam Secretary,” “Blue Bloods,” “Evil,” “The Good Fight,” “The Deuce,” “Smash,” “Law & Order: SVU,” “Remember W.E.N.N.” and “Frasier.” Ms. Carmello has toured with Les Misérables, Big River, Falsettos and Hello, Dolly! and her concert appearances have taken her across America and Europe, including engagements at Lincoln Center, Town Hall and Carnegie Hall.
Kimberly is about to turn 16 and recently moved with her family to a new town in suburban New Jersey. In this “howlingly funny heartbreaker of a show” (The New Yorker), Kim is forced to navigate family dysfunction, a rare genetic condition, her first crush…and possible felony charges. Ever the optimist, she is determined to find happiness against all odds and embark on a great adventure.
As previously announced, KIMBERLY AKIMBO will launch a National Tour at the Denver Center for the Performing Arts on September 22. The 80-week tour will play more than 60 cities across North America.
Named BEST MUSICAL by the Tony Awards, New York Drama Critics Circle, The Drama Desk Awards, The Lucille Lortel Awards, and The Outer Critics Circle Awards, KIMBERLY AKIMBO is also the winner of 4 additional Tony Awards: Best Score (David Lindsay-Abaire and Jeanine Tesori), Best Book (David Lindsay-Abaire), Best Performance by a Leading Actress in a Musical and Best Performance by a Featured Actress in a Musical. With her win for KIMBERLY AKIMBO, Jeanine Tesori made history as the first female composer to win two Tony Awards for Best Score.
KIMBERLY AKIMBO features scenic design by Tony Award winner David Zinn, costume design by Sarah Laux, lighting design by Jeanette Oi-Suk Yew, sound design by Tony Award winner Kai Harada, projection design by Lucy MacKinnon, and wig, hair, and make-up design by J. Jared Janas. The production’s Music Supervisor is Chris Fenwick and the Music Director is Leigh Delano. KIMBERLY AKIMBO features orchestrations by Tony Award nominee John Clancy, with additional orchestrations by Macy Schmidt. The Production Supervisor is Arabella Powell, the Production Stage Manager is Shawn Pennington and casting is by The Telsey Office, Craig Burns, CSA.
The National Tour of KIMBERLY AKIMBO is produced by David Stone, The Atlantic Theater Company, James L. Nederlander, LaChanze, John Gore, Patrick Catullo, and Aaron Glick.
KIMBERLY AKIMBO opened on Broadway to unanimous rave reviews on November 10, 2022, following its world premiere at the Atlantic Theater Company in November 2021. Upon closing on Broadway, KIMBERLY AKIMBO played 32 previews and 612 performances on Broadway.
