Hadestown at the Peace Center

The last time the Asheville Stages crew visited the Peace Center was for Disney's Aladdin on Valentine’s Day 2020. Nearly 20 months later, we returned for another musical take on a classic story, Hadestown — Anaïs Mitchell’s Tony-winning, intertwined adaptation of the Orpheus & Eurydice and Hades & Persephone myths.

Set in an ambiguously defined, New Orleans-esque town where gods and the underworld are accepted facts, the tale of young lovers Orpheus (Nicholas Barasch, exuding innocence with every tic) and Eurydice (the plucky Morgan Siobhan Green) is buoyed by sung and spoken narration from the flashy Hermes (Levi Kreis, giving off appealing Harry Connick, Jr. vibes).

Amidst Rachel Hauck’s retro, rustic scenic design, romance believably blossoms between the chemistry-rich leads with major assists from Mitchell’s jazzy anthems, none better than the no-doubt stomper “Way Down Hadestown.” Director Rachel Chavkin’s brilliant decision to have the seven-piece orchestra visible onstage — minus percussionist Anthony Johnson, whose driving rhythms sadly go unseen — keeps the bond between actors and musicians palpable, and practically turns Audrey Ochoa’s trombone playing into a supporting character.

Ensemble conductor Cody Owen Stine’s ivory-tinkling and accordion work and Michiko Egger’s guitar skills likewise get plenty of opportunities to shine, while Barasch competently strums sweet melodies on a wireless electric guitar, showcasing Orpheus’ budding gift as a songwriter.

These good times are directly tied to a six-month visit from Persephone (Kimberly Marable, who gets to show off her dancing talents on multiple occasions), bringing warmth and rebirth to the world. But upon her all-too-soon departure back to her husband Hades (a properly menacing Kevyn Morrow), the joy subsides, resulting in a somewhat poorly conceived means of getting Eurydice to the underworld with Orpheus soon to follow on a rescue mission.

Firmly down in the planet’s depths, the first act ends in stunning fashion with “Why We Build the Wall,” Hades’ cult-leader sermon to his brainwashed minions, chillingly reminding them of their purpose — so impressive that the second half doesn’t stand much of a chance. Though Persephone welcomes attendees back to their seats with the rip-roaring feature “Our Lady of the Underground,” subsequent songs prove less catchy and borderline repetitive.

Nevertheless, the rampant movement courtesy of choreographer David Neumann largely compensates for the musical shortcomings, including inspired, increased use of the center-stage turntable. Act II also features what’s most likely the first time theatergoers will feel moved to give swinging light fixtures a standing ovation.

As the lovers reunite and attempt their return to the surface, the plot hits its expected beats, though an 11th hour message addressing the importance of telling sad stories and singing sad songs feels a bit tacked on. Still, the climax was staged well enough to earn numerous gasps among the Friday night crowd, who applauded and cheered throughout the evening, spurred not merely by the return of touring Broadway productions to downtown Greenville, but a show this emotionally and creatively stirring.

Hadestown runs through October 10. For details and tickets, visit peacecenter.org.

(Photo by T Charles Erickson, courtesy of the Peace Center)