MUSIC, LYRICS & BOOK BY DEVELOPED WITH & DIRECTED BY

ANAÏS MITCHELL RACHEL CHAVKIN

EDUCATION INITIATIVE
STUDY GUIDE
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 WELCOME EDUCATORS TO THE

STUDY GUIDE
We are so excited that you and your students will soon be joining us at HADESTOWN, where a song truly can
change your fate. We believe that the experience of this musical in live theatrical performance will appeal
to, affect, and inspire the minds, hearts, and spirits of your students.

This study guide is designed to enhance and deepen your students’ theatre-going experience by providing
information about the musical and its creation—its intellectual and artistic origins, context, and themes—
and by engaging their imaginations and creativity before and after they attend the performance through a
variety of in-class activities, exercises, and discussion prompts.

The guide is structured in three parts: “HADESTOWN in Context” which provides information about the
show’s historical, literary, and theatrical bases, as well as its artistic inspiration and journey of creation;
“Pre-Show Preparatory Activities and Assignments for the Classroom;” and “Post-Show Reflective
Activities.”

Did we mention that we are so excited that you and your students are coming to HADESTOWN?!

ALRIGHT? ALRIGHT!
2019 Tony Award® Winner
Best Musical Hadestown

HADESTOWN EDUCATION INITIATIVE

COMMUNITY PARTNERS

2
 TABLE OF CONTENTS
PROLOGUE
Welcome Educators....................................................................................................................................2
Table of Contents.......................................................................................................................................3

HADESTOWN IN CONTEXT—FOR STUDENTS AND TEACHERS!

On Myth and Its Power................................................................................................................................4
More Myth Information...............................................................................................................................5
Greek Tragic Theatre................................................................................................................................. 6
Aristotle and The Tragic Effect....................................................................................................................7
Glossary...................................................................................................................................................7
The Creative Process—Anaïs Mitchell and Rachel Chavkin...........................................................................8
The Creative Process (cont.)—Rachel Hauck and Rachel Chavkin.................................................................9
HADESTOWN Character Profiles...............................................................................................................10
HADESTOWN Synopsis........................................................................................................................11-13
HADESTOWN Musical Numbers................................................................................................................13
Anatomy of a Song: “All I’ve Ever Known” by Anaïs Mitchell.........................................................................14
HADESTOWN Company............................................................................................................................15

PRE-SHOW PREPARATORY ACTIVITIES AND ASSIGNMENTS FOR THE CLASSROOM

HADESTOWN Study Guide Basics.............................................................................................................16
Interactive Quotable HADESTOWN Synopsis.........................................................................................16-17
Post-Synopsis Discussion Questions and Activities for Reflection and Analysis
1) Simple Story Comprehension Reflection....................................................................................17
2) Questions for Journaling and/or Discussion...........................................................................17
3) Plot-Point Tableaux..................................................................................................................17-18
4) Analyzing the Story of HADESTOWN: Dramatic Terms and Concepts......................................18
5) Themes in HADESTOWN..........................................................................................................18-19
Listening Party: “All I’ve Ever Known” and “Way Down Hadestown”........................................................19-20
HADESTOWN Designer’s Collage..............................................................................................................20

POST-SHOW REFLECTIVE ACTIVITIES

Back-to-School Babble: Students Initial Response to HADESTOWN............................................................21
HADESTOWN Performance Reflection and Discussion..........................................................................21-22
HADESTOWN Favorite Moments Tableaux.................................................................................................22
Additional Post-Show Discussion Points for HADESTOWN.....................................................................22
Writing the “Look Back” Moment Monologue........................................................................................22-23
Writing the Review: HADESTOWN.............................................................................................................23

APPENDIX OF PRINTER-FRIENDLY RESOURCES

HADESTOWN Character Profiles..............................................................................................................24
HADESTOWN Quotable Synopsis.........................................................................................................25-28
HADESTOWN Quotable Synopsis Cards................................................................................................29-33
Lyric Sheet: “All I’ve Ever Known”.............................................................................................................34
Lyric Sheet “Way Down Hadestown......................................................................................................35-36
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 ON MYTH AND ITS POWER
“THE FIRST IDEA OF IT CAME A BIT MYSTERIOUSLY; THE POWER OF MYTH
SOME LYRICS POPPED INTO MY HEAD AND THEY Joseph Campbell: “Greek and Latin and biblical
literature used to be a part of everyone’s education.
SEEMED TO BE ABOUT THE MYTH OF ORPHEUS AND Now, when these were dropped, a whole tradition
of Occidental mythological information was lost.
EURYDICE. FROM THERE, I GOT EXCITED ABOUT It used to be that these stories were in the minds
FOLLOWING THE IDEA OF THE MYTH AND EXPLORING of people. When the story is in your mind, then
you see its relevance to something happening in
TELLING THE STORY THROUGH SONG.” your own life. It gives you perspective on what’s
ANAÏS MITCHELL, SINGER-SONGWRITER & CREATOR OF HADESTOWN happening to you. With the loss of that, we’ve
really lost something because we don’t have
comparable literature to take its place. These bits
of information from ancient times, which have to
do with the themes that have supported human
life, built civilizations, and informed religions over
the millennia, have to do with deep inner problems,
inner mysteries, inner thresholds of passage, and if
you don’t know what the guide-signs are along the
way, you have to work it out yourself. But once this
subject catches you, there is such a feeling from one
or another of these traditions, of information of a
deep, rich, life-vivifying sort that you don’t want to
give it up.”

Bill Moyers: So we tell stories to try to come to

Orpheus and Eurydice by Edward Poynter, 1862. terms with the world, to harmonize our lives with
reality?

Joseph Campbell: I think so, yes…

MYTH Source: Joseph Campbell with Bill Moyers, The Power of Myth. Betty
Sue Flowers, ed. (reprint Anchor Books, 1991); 2.
[mith]

“…a story, presented as having actually occurred

in a previous age, explaining the cosmological
and supernatural traditions of a people, their
gods, heroes, cultural traits, religious beliefs,
etc. The purpose of myth is to explain, and, as
Sir G.L. Gomme said, myths explain matters
in “the science of a pre-scientific age.” Thus
myths tell of the creation of man, of animals, of
landmarks; they tell why a certain animal has its
characteristics (e.g. why the bat is blind or flies only
at night), why or how certain natural phenomena
came to be (e.g. why the rainbow appears or how
the constellation Orion got into the sky), how and
why rituals and ceremonies began and why they
continue.”
Source: Jerome Fried and Maria Leach in Funk & Wagnall’s Standard
Reeve Carney and Eva Noblezada as
Dictionary of Folklore, Mythology, and Legend. (Harper & Row
Orpheus and Eurydice in Hadestown.
Publishers,1984): 788.

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 MORE MYTH INFORMATION
CHARACTERISTICS
OF MYTHS
• Myths are not the creation of a single author.

• Myths evolve and develop overtime as they are

told and retold and passed from storyteller to
storyteller—the result can be multiple versions
of the same story.

• In addition to attempting to explain the

mysteries and wonders of the world and
cosmos—such as the creation of the world and
the universe and the development of humanity—
myths also attempt to address the fundamental
and ancient questions of the meaning of life and
purpose of human existence.

• Myths are religious stories and are sacred to the

cultures that create them. The deities—gods,
goddesses, demigods, and other supernatural
Hermes from a Greek black-figure am-phora found in Italy, beings depicted—are worshipped and revered.
540 – 530 BCE.
Source: Kathleen Sears, Mythology 101. (Adams Media, 2014): 10.

TYPES OF ANCIENT MYTHS OF SEASONAL RENEWAL

allegorical in nature
GREEK MYTHS e.g., The Abduction of Persephone
Source: John Richard Thornhill Pollard and A.W.H. Adkins, “Greek
MYTHS OF ORIGIN Mythology,” Encyclopedia Britannica. (Encyclopedia Britannica, Inc.,
“an attempt to render the universe comprehensible July 2019): https://www.britannica.com/topic/Greek-mythology
in human terms”
e.g., Chaos, Earth, Tartarus/The Abyss, Love/Desire

MYTHS OF THE AGES OF THE WORLD

critique and explain changes in moral or spiritual
qualities of humanity over time
e.g., Golden Age, Silver Age, Heroic Age, Iron Age
 
MYTHS OF THE GODS
their births, victories, love affairs, special powers,
cultic and ritualistic connections
e.g., Hades the Ruler of the Underworld, Hermes
the Messenger of the Gods
 
MYTHS OF HEROES
Include elements from tradition, folktale, and fiction
e.g., Orpheus and Eurydice, Iliad and Odyssey
attributed to epic poet Homer
  André De Shields as Hermes in Hadestown.

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 GREEK TRAGIC THEATRE
The City Dionysia, or Great Dionysia, was an annual
Greek festival held in March in Athens to honor
Dionysus, the ancient Greek god of fertility, revelry,
and wine. One feature of the festival was a play
competition in which three tragic plays—based
upon a well-known myth or historical subject—were
written, performed before the citizenry of Athens,
and judged for poetic merit, as well as for creative
interpretation of and invention within the story (e.g.,
details of characterization, motivation). The prize
was awarded to the best dramatist.

The stories of Greek tragedies typically center on

characters who are good and moral individuals—
sometimes of high or royal birth, though not
always—who make errors in judgement or
accidental mistakes (including making the
wrong choice) that lead to a reversal of their
circumstances from good to bad.

The Greek tragic form developed out of choral hymns dedicated to Dionysus that were sung and danced.
Tragedies performed at the City Dionysia featured a mostly fixed structure: a prologue, which presented
the subject or topic of the play in a monologue or dialogue; the entrance of the chorus and the first of a
number of danced choral odes or poems set to music, which provided information on all that had happened
before the play began; a series of dramatic episodes or scenes that developed the main dramatic action of
the story and were separated by additional danced choral odes; and the final scene of the play, or exodus,
which saw the departure of the characters and chorus.

These ancient musical theatre productions were staged in an open-air space—known as an amphitheatre—
that was built into the cliff-face of the Acropolis. It featured a round, flat orchestra or “dancing place,”
where the play was enacted and the chorus danced. The orchestra was surrounded on nearly three sides by
a tiered theatron or “seeing place”; here the audience sat to watch, were always visible to the performers
and in relatively close proximity.

Set Designer Rachel Hauck’s scenic design for Hadestown

was partly inspired by the amphitheatres of Ancient Greece.

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 ARISTOTLE AND
THE TRAGIC EFFECT
Aristotle (384 – 322 BCE) was a Greek philosopher of the Classical period in Ancient Greece and became one of the
most influential people who ever lived. His teacher was the similarly influential Plato, whose philosophical writings The
Republic espoused his beliefs on what he thought did and did not belong in the ideal city-state. According to Plato,
anything that was imitation, including tragic plays or any kind of theatre was dangerous and morally harmful, because it
stirred human passions and fostered irrationality and excessive emotion. In his final analysis, tragedy did not belong in
the ideal city-state and “the poets” who create tragedies should be banished; though, he conceded that if anyone could
come up with a good argument for why poets should be allowed, he would permit them back into the state.

So, what do you do if you are the student of Plato and you really love reading tragic plays and going to the theatre? You
take up your teacher’s challenge—you prove him wrong! This is just what Aristotle did in his writings (or possibly lecture
notes), which we know as the Poetics. In Poetics, Aristotle employs the scientific approach to describe and defend the
utility and importance of poetry in general and tragedy specifically. He also defends imitation (or mimesis) itself, noting
that humans are naturally imitative—we learn by imitating, delight in imitating, and delight in watching an imitation. In
Aristotle’s all important sixth chapter, he describes the tragic form, and in his description, includes what he views as its
usefulness and value to the state:

Tragedy, then, is the imitation of a good action, which is complete and of a certain length, by means of language
made pleasing for each part separately; it relies in its various elements not on narrative but on acting; through pity
and fear it achieves the purgation [catharsis] of such emotions.

Aristotle agreed that Plato was right; tragedy did stir up in its audience excessive emotion—specifically pity and fear—
but it also allowed for the catharsis or purging or cleansing of these negative emotions. To Aristotle, experiencing a tragic
play doesn’t encourage the passions, but instead rids or relieves the audience member of them. He argues that it is
healthy to be purged of any excess of emotion, and, therefore, tragedy and the tragic poets or playwrights are beneficial
to and belong in the ideal state!

Do you agree? How does the experience of a tragic play effect you?
Source: Translation of Aristotle by G.M.A. Grube from Michael J. Sidnell’s Sources of Dramatic Theory 1: Plato to Congreve. Cambridge, 1994, 41-43.

GLOSSARY
ARCHETYPE in literature, a typical character that seems to represent common aspects or universal patterns
of human nature; e.g., the hero, the villain, the mentor, the mother figure, the innocent.
DRAMATIC IRONY a literary technique, originally used in Greek tragedy, by which the full significance of a
character’s words or actions are clear to the audience, yet unknown to the character.
LYRE a stringed instrument like a small u-shaped harp with strings fixed to a crossbar, used especially in
ancient Greece.
MORTAL a human being subject to death, often contrasted with a divine or god-like being.
MUSE in Classical mythology, any number of sister goddesses, all the daughters of Zeus and Mnemosyne
who presided over the various arts; e.g., Calliope, the goddess of epic poetry and mother to Orpheus.
SHADE in literature and poetry, a shade is the spirit or ghost of a dead person who resides in the
underworld.
UNDERWORLD the regions below the earth’s surface, imagined as the home of departed souls or spirits;
sometimes referred to as Hades.
UNIVERSAL THEME an idea that is central to human nature or the human condition and can be applied to any
one regardless of cultural differences or geographic location; found throughout the literature of all time
periods.
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 THE CREATIVE PROCESS
“I play the guitar, so I write my songs on the guitar. I think a different kind of song
comes out of the guitar, than the piano, and I am certainly influenced by folk music and
American blues music.”*

“The very first sort of inkling of this story in this show came out of nowhere. I was
driving in my car and these lyrics came into my head that went, ‘Wait for me. I’m
coming in my garters and pearls. With what melody did you barter me from the wicked
underworld?’ And those lines never made it into any version of the show, but the
melody, is the melody of ‘Wait for Me,’ which is obviously still in the show.”*

“It’s been really important for both Rachel [Chavkin] and I to find the place where this
show can exist, that is somewhere between a concert and a theatre show. There is a
ANAÏS MITCHELL logic operating that goes beyond the story.”‡
MUSIC, LYRICS, AND BOOK “From very early on, the instrumentation had this prominently featured trombone
and then these two twin-strings counter-line parts, and then just a really fatty rhythm
section. And so, from early on, a lot of people were identifying the music as sounding like it was a big-band New
Orleans jazz music.”‡

“A big part of the storytelling is this decaying marriage between Hades, the King of Industry, and his wife
Persephone, the Queen of Nature and the Seasons, and there are a lot of themes of climate change based on
industrial practices. And New Orleans has all of that as well, because of Katrina and the subsequent hurricanes that
have happened there. It feels like all of our themes can be found in that part of the country.”‡

“The first thing that Anaïs ever said too me …was, ‘This is a poetry piece; not a prose
piece.’ And I think what maybe was initially meant by that is that it all was going to
rhyme. But also, I think more than anything, a poem is like the most essentialized
amount of language for the densest amount of meaning.”‡

“…My inspirations while making the show: I thought a lot about a tree and gathering
around a tree in the old times to hear a story. I looked at images of oil refineries and
steel mills and places of really heavy labor and construction.”*

“...Louisiana became a really frequent touchstone for us in multiple ways. On the set,
there’s the filigree of wrought iron and age and compression. Preservation Hall is a big
source of research for us, because we talked about, ‘Where do you want to hear this
story?’ So, Rachel Hauck, our set designer, and I have talked a lot about Louisiana,
both the music aspect of it, and, of course New Orleans, but also the drilling and oil
RACHEL CHAVKIN
industries that are all through that state. And so, hopefully, it feels like show kind of DIRECTOR
begins—you think that you’re in Preservation Hall—and then actually there’s this quite
extraordinary transformative moment, scenically, where you realize, ‘Oh my gosh, I’m in an oil drum…and maybe I’m
at the bottom of the Atlantic Ocean.’”‡

“The song ‘Wait for Me’ has this incredibly surging chorus…There’s like a forward and back motion to the music, and
that was the image of the lamps coming forward and going back. That’s a song and a dramatic moment where one of
our heroes is changing the laws of the space-time continuum, not from a place of political activism or anything. He
wants his lover back. And I think that’s so fundamental. And so, the surge felt really good for that.”‡

“I think HADESTOWN offers a really unique Broadway experience…I think, you’re going to hear music that is pretty
much unlike anything you’ll hear past or present. It’s actually deeply warm and just beautiful in a way that is quite
literally spiritually moving. I want everyone singing HADESTOWN. I mean, this is a show that cracks my rib cage open
every time I see it. So, I want that in people’s hearts.”‡
Sources: The above quotations are excerpted and transcribed from *Hadestown.com’s Hadestown: The Creative Process with Book and Songwriter
Anaïs Mitchell and Director Chavkin video interview, 2019, and ‡Broadway.com’s Building Broadway: Hadestown Book and Songwriter Anaïs
Mitchell and Director Rachel Chavkin video interview, 4 June 2019.
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 THE CREATIVE PROCESS (CONT.)
RACHEL HAUCK & RACHEL CHAVKIN
ON DESIGNING HADESTOWN
Rachel Hauck: I would describe [the set] as the best New Orleans hybrid bar-
music joint you could find. It’s a hybrid between Preservation Hall and the Greek
amphitheatre. It’s like the coziest most intimate place to hear some music and the
story just takes over.

Rachel Chavkin : The thing that we both strongly agreed upon were actually the back
walls—you think the show has begun in this bar and actually you realize the whole
time the bar was maybe in the bottom of an oil drum. It’s basically steel plating and
RACHEL HAUCK rusted and awful.

SCENIC DESIGNER Rachel Hauck: When this world pulls apart, it feels like you’ve gone to the center of
the earth or something. You are so far underground, and there are lots and lots of little
things we did to make it feel that way, but mostly it’s when the set moves, you just get
kind of kicked in the chest by it. It’s a beautiful moment.

Rachel Chavkin: Hadestown the show requires a way to journey down to the
Underworld and a way to journey back. It felt like the answer was a treadmill of some
kind. Rachel’s first impulse when we were at New York Theatre Workshop was a circle,
and I think that is very tied to the fact that we are telling an extremely ancient story,
and circles are pretty old, and, thus, we have a lot of turntables.
Source: This content is excerpted and transcribed from Theatremania.com’s Take a Tour Way Down
2019 Tony Award® Winner Hadestown with Rachel Hauck and Rachel Chavkin video interview, 4 June 2019..
Best Scenic Design of a Musical
Rachel Hauck for Hadestown

Exterior of Preservation Hall, New Orleans, Entrance to Preservation Hall, 2008. Interior of Preservation Hall, 2010.
2008.
Source: Photo by Francis Lee. Phier at Source: Photo by Infrogmation of New Orleans
Source: KimonBerlin [CC BY-SA 2.0 (https:// English Wikipedia [CC BY-SA 3.0 (https:// [CC BY-SA 3.0 (https://creativecommons.org/
creativecommons.org/licenses/by-sa/2.0 )] creativecommons.org/licenses/by-sa/3.0)] licenses/by-sa/3.0)]

9
 CHARACTER PROFILES
YOU WOULD DO ANYTHING
HERMES [HUR’-MEEZ] JUST TO FILL YOUR BELLY FULL OF FOOD
In Greek mythology, fleet-footed guide, messenger of the FIND A BED THAT YOU COULD FALL INTO
gods, and conductor of souls to the Underworld. In some WHERE THE WEATHER WOULDN’T FOLLOW YOU
tellings, it was Hermes who taught Orpheus to play the
lyre. In this telling, he is a worldly-wise narrator, master- PERSEPHONE [PER-SEF’-UH-NEE]
of-ceremonies, and friend and mentor to Orpheus. Goddess of the seasons, flowers, fruit, and grain. By
AND ON THE ROAD TO HELL THERE WAS A RAILROAD arrangement, she spent half the year with Hades in the
STATION Underworld, causing fall and winter above. The other
[MMMM…] half she returned to her mother, bringing spring and
AND A MAN WITH FEATHERS ON HIS FEET summer with her. In this modern version, she plays the
[MMMM…] good-time party girl to dull her disenchantment with said
WHO COULD HELP YOU TO YOUR FINAL DESTINATION arrangement and other problems in her marriage.
Mr. Hermes, that’s me! NOW SOME MAY SAY THE WEATHER AIN’T THE WAY IT
USED TO BE
FATES [FEYTS] BUT LET ME TELL YOU SOMETHING THAT MY MAMA
Three goddesses who together determined the destinies SAID TO ME:
of mortals, measuring their lifespans and apportioning YOU TAKE WHAT YOU CAN GET
their suffering. In this story, they follow, fluster, niggle, AND YOU MAKE THE MOST OF IT
and cast doubt and insecurity in the minds of some. SO RIGHT NOW WE’RE LIVING IT
LIVIN’ IT—LIVIN’ IT UP
LIFE AIN’T EASY BROTHER RIGHT HERE WE’RE LIVIN’ IT
LIFE AIN’T FAIR LIVIN’ IT UP ON TOP!
A GIRL’S GOTTA FIGHT FOR A RIGHTFUL SHARE
WHAT YOU GONNA DO WHEN THE CHIPS ARE DOWN? HADES [HEY’-DEEZ]
…
HELP YOURSELF God of the dead, ruler of the Underworld, sometimes
TO HELL WITH THE REST called “the Wealthy One.” He fell in love with and married
EVEN THE ONE WHO LOVES YOU BEST Persephone. Her mother, the goddess of the harvest,
WHAT YOU GONNA DO WHEN THE CHIPS ARE DOWN refused to bless the earth while Persephone was below.
In this version of the story, he is a greedy and zealous
ORPHEUS [AWR’-FEE- UH S] industrialist.

Son of the muse of epic poetry, engaged to marry HERE I FASHIONED THINGS OF STEEL
Eurydice. With his golden voice and lyre, Orpheus OIL DRUMS AND AUTOMOBILES
charmed all living things, even rocks and stones. This THEN I KEPT THAT FURNACE FED
modernized account features an Orpheus on a musical WITH THE FOSSILS OF THE DEAD
mission beyond his love for Eurydice. LOVER WHEN YOU FEEL THAT FIRE
THINK OF IT AS MY DESIRE FOR YOU
THAT’S WHAT I’M WORKING ON
A SONG TO FIX WHAT’S WRONG
TAKE WHAT IS BROKEN, MAKE IT WHOLE
WORKERS CHORUS [WUR’-KERZ / KOHR’-UH S]
A SONG SO BEAUTIFUL In ancient Greek theater, the Chorus sang, spoke, and
IT BRINGS THE WORLD BACK INTO TUNE danced in unison. Often representing the voice of citizens,
BACK INTO TIME the Chorus commented on the actions of characters and
AND ALL THE FLOWERS WILL BLOOM served as an emotional conduit for the audience.

OH, KEEP YOUR HEAD, KEEP YOUR HEAD LOW (KKH)\

EURYDICE [YOO-RID’-UH-SEE] OH, YOU GOTTA KEEP YOUR HEAD LOW (KKH)
A dryad, or tree nymph, engaged to marry Orpheus. On IF YOU WANNA KEEP YOUR HEAD (HUH, KKH)
the day of their wedding, she was bitten by a poisonous OH, YOU GOTTA KEEP YOUR HEAD LOW
snake, died, and descended into the Underworld. The
Eurydice of this version is a runaway who has experienced
much hardship in her young life, which makes it hard for
her to trust others.

PEOPLE TURN ON YOU JUST LIKE THE WIND

EVERYBODY IS A FAIRWEATHER FRIEND
IN THE END YOU’RE BETTER OFF ALONE
ANY WAY THE WIND BLOWS
…

10
 SYNOPSIS
ACT ONE
In an intimate New Orleans-style jazz music joint and bar,
a master of ceremonies-like Narrator turns to a diverse
group of people surrounding him at tables and in the
bandstand, and asks expectantly, “Alright?” They respond
robustly, “ALRIGHT!” Music starts at his prompting, and
he steps up to the microphone to begin telling what he
describes as “an old song…an old tale from way back
when.” Indicating to everyone around him, he offers “and
we’re gonna sing it again.” He then commences with the
introductions of the gods and goddesses present: The
Fates; Persephone; Hades; and himself—he is Hermes.
He then introduces the mortals: A Chorus of Workers, the
Band, and Orpheus. He concludes his introductions with
another in the Underworld. However, without her above
Eurydice, a hungry and homeless runaway, who enters
in the land of the living, flowers and vegetation no longer
followed and flustered by the Fates.
grew. Hades agreed that for half of the year Persephone
Eurydice is seen by Orpheus; he is suddenly smitten. would stay with him below, and for the other half, she
Hermes, who has taken the somewhat unusual Orpheus would live above—which is where the seasons come
under his wing, asks him if he wants to talk to Eurydice. from. Hermes reflects that for a long time Hades and
When Orpheus replies, “Yes,” Hermes warns him not Persephone sang the song of love, and the worlds above
to come on too strong. Orpheus approaches Eurydice and below were in harmony, but recently something had
and impulsively begs her to come home with him. Taken changed, and spring and Persephone are always late and
aback, she asks him who he is, to which he replies, never around for very long.
“The man who’s going to marry you.” He tells Eurydice
A train whistle is heard, and Persephone arrives. It
that he is a singer and a lyre player and is writing a song
instantly becomes summertime—the flowers bloom, the
that, when it is complete, will fix what’s wrong with the
fruit ripens, the wine flows—and everyone celebrates.
world—something has become broken—and then spring
Resident poet, Orpheus, is called upon to toast her; he
will come again. Eurydice admits she doesn’t remember
acknowledges the abundance that her return has brought
seeing a spring or fall. He affirms that’s why he’s writing
and thoughtfully adds that if no one takes too much,
his song, which will bring the world back into tune, adding
there will always be enough for all. Amid this bounty,
that all the flowers will bloom when she becomes his wife.
Eurydice opens herself to Orpheus’ love, confesses that
Eurydice tells Hermes that Orpheus is crazy, and teases
with him she is no longer lonely, and she asks him to
the boy, suggesting that he doesn’t have the money or
promise that he will hold her forever. He pledges he will
means to get married. She then asks Orpheus to sing his
and that things between them will never change.
song, and when he hesitates—because it isn’t finished
yet—she demands that if he wants to take her home, he The train whistle blows, and Persephone expresses her
must sing it. A suddenly willing Orpheus begins singing upset that it hasn’t been six months yet; the train with
a beautiful tune, and in the midst of his tune, a beautiful Hades on it is early. The Fates instruct her to pack her
red flower appears in his hands. Eurydice, recognizing the suitcase to go back to the Underworld, also known as
magical power of Orpheus’ song, implores him to finish it. Hadestown. Persephone is not happy about returning.
She views Hadestown as a lonesome and boring place,
Hermes recognizes something familiar about Orpheus’
noting that she has begun to rely on alcohol and drugs
tune and reminds him that he once told him the tale of
to “entertain” herself when she’s down there. Hermes
the gods Hades and Persephone, whose love had made
agrees that life and work is hard down there; everyone is
the world go around. Prompted by Hermes, Orpheus
tired and hungry owing to Hades’ meanness and greed.
recounts the story of how the King of the Underworld fell
When Hades appears, an annoyed Persephone scolds
in love with Persephone, the goddess of flowers, fruit, and
him for being early. He excuses himself saying that he
vegetation, when he saw her walking in the world of the
missed her. The Fates temptingly tell Eurydice about
living gathering flowers one day. Hades took Persephone
Hades’ great wealth, noting that he owns everything in
home to be his queen and they lived with and loved one
Hadestown, which leads Eurydice to wonder what that

11
might be like. Hades takes note of Eurydice, before he,
Persephone, and the Workers move to depart to the
ACT TWO
Underworld. When Eurydice steps out of Hades’ office, she is
confronted by the Fates. She tells them that she’s signed
The moment they leave it turns suddenly cold. Orpheus a deal with Hades, and they tell her to get on the work
expresses his great concern that Hades came for line. She joins the other Workers on the line and when she
Persephone too soon; this is not the way things are tries to introduce herself to them, they don’t respond.
supposed to be. Eurydice replies that until someone The Fates tell her that although the Workers can hear and
brings the world back into tune, this is how the world see her, they no longer care and won’t respond—this is
will be. Orpheus renews his mission to finish his song what it looks like to forget who you are and where you are
and gets to work with a focus so strong that he doesn’t from. They assure her the same will happen to her. With
hear Eurydice’s growing concern that they have no this new understanding, Eurydice tell the Fates she has
food nor firewood. She begins to look for them herself, to go, but when they ask her who she is and where she
while Orpheus’ thoughts become completely occupied wants to go, she suddenly can’t remember. Eurydice tries
by his songwriting. Meanwhile down in Hadestown, the to hold tight to a few remnants of her memory—including
Workers get right to their labor, and Persephone, none that she once walked in the sun with someone by her
too happy to be back, complains to Hades about the side—while woefully regretting the choice she has made.
shocking conditions in Hadestown—it is unnaturally hot
and bright and overindustrialized. Trying to get her to Orpheus arrives in Hadestown and finds Eurydice, who
reframe her negative perspective, Hades shares with still recognizes him. She is amazed that he has come
Persephone how lonesome he’s been without her and for her and asks how he made it beyond the wall. As
shows her all of the things that he’s accomplished— he is telling Eurydice that he is there to take her home,
for her, he says—while she’s been away, including Orpheus is confronted by an angry Hades. Persephone
building a foundry to make steel and laying a power recognizes Orpheus but is told by Hades not to interfere.
grid to electrify the city. She remains unimpressed by Orpheus bravely stands up to Hades, announcing he is
his passion projects and tells him that she doesn’t even taking Eurydice home. Hades informs Orpheus that he
recognize him anymore. Feeling rejected, Hades decides owns everything in Hadestown, including Eurydice who
that if Persephone doesn’t appreciate him or want his has sold herself to him. Orpheus doesn’t believe him,
love, he will find someone that does. He ascends to the but Eurydice sorrowfully admits that it is true. Orpheus is
land of the living and encounters the frantic and hungry crushed by Eurydice’s admission. The Fates advise him
Eurydice. Approaching her seductively, Hades offers that what’s done is done, and there is nothing he can do
Eurydice one coin and tells her that it’s her ticket. The to change it. Disillusioned, he turns to leave, continuing
choice is between staying with Orpheus or coming to the to question aloud the circumstances of the situation:
Underworld, where she will be fed and sheltered.. Though “Is this how the world is? If it’s true what they say, then
her heart aches for Orpheus, she is overcome by hunger I’ll be on my way. But who are they to say what the truth
and need and chooses to descend with Hades. She gives is anyway?” The Workers hear him, stop their working,
the coins to Hermes and leaves as the train whistle blows. and stand to listen to him. Encouraged, he speaks a new
truth: That where there is a will there is a way and that
Not long after Eurydice has gone, Orpheus approaches when people stand together, they are stronger than they
Hermes and asks where Eurydice is. He is shocked when know.
Hermes tells him that she has gone to down to Hadestown
and he vows to go there himself. Hermes tells him that As the workers band around Orpheus, Persephone
without a ticket he will have to take the long way down. confronts Hades and stands up for the boy’s love for
After Hermes provides him with detailed instructions, Eurydice—a love that she and Hades once had for one
Orpheus sets out. Meanwhile in the Underworld, Hades another. Hades assures Persephone that Eurydice means
stages a public celebration of a wall he has made nothing to him. Persephone counters that Eurydice
the workers build to keep Hadestown safe from “the means everything to Orpheus, and she tells Hades to let
enemy”—which he explains is poverty. In a moment of her go.
dramatic irony, the impoverished Eurydice arrives in
Hadestown. Hades sees her and commands that she step
into his office, which she does while being observed by
Persephone.
2019 Tony Award® Winner Best Original Score
(Music and/or Lyrics) Written for the Theatre
Hadestown
Music and Lyrics Anaïs Mitchell

12
 SYNOPSIS SPOILER MUSICAL NUMBERS
If you don’t wish to know what happens at the climax and
ending of the story of HADESTOWN, read no further!
ACT I
“Road to Hell”....................................Hermes, Company
Still fuming over Orpheus’ interference with his Workers
and their new demands for freedom, Hades tells “Any Way the Wind Blows”.......................Eurydice, Fates
Hermes that Orpheus and Eurydice can go, but under Orpheus, Eurydice,
the following condition: Orpheus must walk in front of “Come Home With Me”.........................Hermes, Workers
Eurydice on the journey home, and, if he looks back at “Wedding Song”...................Orpheus, Eurydice, Workers
all for any reason, she must return to Hadestown forever.
Orpheus calls the arrangement a trap, but Hermes tells “Epic I”................................................Orpheus, Hermes
him to consider it a trial. He asks Orpheus and Eurydice if Persephone, Hermes,
they trust one another and themselves. They both say yes. “Livin’ It Up On Top”..........................Orpheus, Company
As the young lovers leave Hadestown, Persephone
“All I’ve Ever Known”..........................Eurydice, Orpheus
questions Hades as to whether he thinks they’ll make it
home. He says he doesn’t know. She then asks him about “Way Down Hadestown”....................................Company
their own relationship; will they try again? He tells her “A Gathering Storm”....Hermes, Orpheus, Eurydice, Fates
that it is time for spring and that they will try again in the
“Epic II”..............................................Orpheus, Workers
fall. Persephone asks Hades to wait for her. He says he
will. “Chant”...........................................................Company

As Orpheus, Eurydice, and the Workers walk out of the “Hey Little Songbird”.............................Hades, Eurydice
Underworld, the Fates assault Orpheus’ confidence with “When the Chips Are Down”.....................Fates, Eurydice
questions, as voices in the back of his mind: “Who do
“Gone, I’m Gone”....................................Eurydice, Fates
you think you are? Who are you to lead her? Who are you
to lead them?” Hermes counsels him not to succumb to “Wait For Me”...............Hermes, Orpheus, Fates, Workers
mind games, as Eurydice, Persephone, and the Workers “Why We Build the Wall”........................Hades, Company
speak only words of encouragement and assurance that
they are with him. Despite their support, doubt begins to ACT II
overwhelm Orpheus, and in a moment of uncertainty—
“Our Lady of the Underground”.....................Persephone
when he feels he is utterly alone—he turns around. He
finds Eurydice standing there right behind him. She gasps Hermes, Fates,
and then begins to descend and disappear. “Way Down Hadestown (reprise)”.........Eurydice, Workers
“Flowers”.........................................................Eurydice
Everything stops. Everyone is crushed. And then, out
of the silence, Hermes says with a withered spirit, “Come Home With Me (reprise)”..........Orpheus, Eurydice
“Alright…” “Papers”...............................................Hades, Company
After a moment, he explains solemnly that this is how the “Nothing Changes”.................................................Fates
old song, the old story ends; that it is a tragedy. And he
“If It’s True”...........................Orpheus, Hermes, Workers
says that even though they know how the story ends, they
tell it anyway; perhaps with the thought that it might turn “How Long?”.....................................Persephone, Hades
out right in this telling, this time. Orpheus leaves. “Chant (reprise)”..............................................Company
And then Hermes begins the story again. Eurydice enters, “Epic III”...........................................Orpheus, Company
as she did before. Persephone returns, bringing spring “Promises”...........................Eurydice, Orpheus, Workers
with her. And Orpheus en-ters, sees Eurydice, and is
suddenly smitten. “Word to the Wise”.................................................Fates
“His Kiss, The Riot”..............................................Hades
Persephone, Eurydice and the HADESTOWN Company
sing a toast to Orpheus and to all of us. “Wait For Me (reprise)”........................Hermes, Company
“Doubt Comes In”.......Orpheus, Eurydice, Fates, Workers
END OF SHOW “Road to Hell (reprise)”.......................Hermes, Company
“We Raise Our Cups”......Persephone, Eurydice, Company

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 ANATOMY OF A SONG
“ALL I’VE EVER KNOWN”
BY ANAÏS MITCHELL
EURYDICE ORPHEUS
I WAS ALONE SO LONG SUDDENLY I’M HOLDING THE WORLD IN MY ARMS
I DIDN’T EVEN KNOW THAT I WAS LONELY -Interlude-
OUT IN THE COLD SO LONG
EURYDICE
I DIDN’T EVEN KNOW THAT I WAS COLD
SAY THAT YOU’LL HOLD ME F OREVER
TURN MY COLLAR TO THE WIND
SAY THAT THE WIND WON’T CHANGE ON US
THIS IS HOW IT’S ALWAYS BEEN
SAY THAT WE’LL STAY WITH EACH OTHER
ALL I’VE EVER KNOWN IS HOW TO HOLD MY OWN AND IT WILL ALWAYS BE LIKE THIS
ALL I’VE EVER KNOWN IS HOW TO HOLD MY OWN
ORPHEUS
BUT NOW I WANNA HOLD YOU TOO
I’M GONNA HOLD YOU FOREVER
-Interlude- THE WIND WILL NEVER CHANGE ON US
YOU TAKE ME IN YOUR ARMS LONG AS WE STAY WITH EACH OTHER
AND SUDDENLY THERE’S SUNLIGHT ALL AROUND ME ORPHEUS & EURYDICE
EVERYTHING BRIGHT AND WARM THEN IT WILL ALWAYS BE LIKE THIS
AND SHINING LIKE IT NEVER DID BEFORE
AND FOR A MOMENT I FORGET
“Usually at the beginning of a song, what comes is one
JUST HOW DARK AND COLD IT GETS
lyric line with a melody, and so that ‘All I’ve ever known
ALL I’VE EVER KNOWN IS HOW TO HOLD MY OWN is how to hold my own,’ that was the first phrase that
ALL I’VE EVER KNOWN IS HOW TO HOLD MY OWN came. Off-Broadway this [song] was really a solo feature
BUT NOW I WANNA HOLD YOU for Eurydice, and Reeve who’s playing Orpheus said I
wish that Orpheus had a moment where he really could
NOW I WANNA HOLD YOU
express his love for Eurydice. It was tough, because I
HOLD YOU CLOSE
had written what felt anatomically a really tight song for
I DON’T WANNA EVER HAVE TO LET YOU GO Eurydice to sing and then when I realized I wanted it to
NOW I WANNA HOLD YOU become a duet it was hard to figure out how to crack that
HOLD YOU TIGHT thing open and get Orpheus in there.
I DON’T WANNA GO BACK TO THE LONELY LIFE
He couldn’t say the same thing that she said, like ‘All
ORPHEUS I’ve ever know is how to hold my own’—that’s not his
I DON’T KNOW HOW OR WHY experience, that’s her experience. So, it was tough to
OR WHO AM I THAT I SHOULD GET TO HOLD YOU find that moment where he says a sort of subversion
BUT WHEN I SAW YOU ALL ALONE AGAINST THE SKY of that line, which is ‘All I know is you’re someone that
IT’S LIKE I’D KNOWN YOU ALL ALONG I’ve always known, and I don’t even know you.’ That did
I KNEW YOU BEFORE WE MET feel like it was true to his experience, but also poetically
close enough to her chorus that it would feel like it was a
AND I DON’T EVEN KNOW YOU YET
homecoming, which a chorus always wants to feel like.”
ALL I KNOW’S YOU’RE SOMEONE I HAVE ALWAYS
KNOWN As the characters have evolved, Eva is playing this really
beautiful tough character who has actually seen a lot
ORPHEUS & EURYDICE already. When she says, ‘Say that we’ll stay with each
ALL I KNOW’S YOU’RE SOMEONE I HAVE ALWAYS other,’ when I watch that scene I see her saying ‘I’ve
KNOWN never stayed anywhere before, I’ve left everywhere that
AND I DON’T EVEN KNOW YOU I’ve ever been, so say that that’s never going to happen
NOW I WANNA HOLD YOU—HOLD YOU CLOSE again.’”
I DON’T WANNA EVER HAVE TO LET YOU GO —ANAÏS MITCHELL
Source: This content is excerpted and transcribed from Theatremania.
EURYDICE com’s Making the Music: Anaïs Mitchell on the Creation of “All I’ve Ever
SUDDENLY THERE’S SUNLIGHT BRIGHT AND WARM Known” from Hadestown video interview, 14 June 2019.
14
 THE HADESTOWN COMPANY

2019 Tony Award® Winner

Best Performance of an Actor in a
Featured Role in a Musical
André De Shields for Hadestown

FATE FATE FATE

JEWELLE BLACKMAN YVETTE GONZALEZ-NACER KAY TRINIDAD

WORKER WORKER WORKER WORKER WORKER

ANTHONY CHATMON II AFRA HINES TIMOTHY HUGHES JOHN KRAUSE KIMBERLY MARABLE

SWING SWING SWING SWING

MALCOLM ARMWOOD T. OLIVER REID JESSIE SHELTON KHAILA WILCOXON

15
PRE-SHOW PREPARATORY ACTIVITIES
& ASSIGNMENTS FOR THE CLASSROOM
HADESTOWN STUDY GUIDE BASICS
Share with your students the various articles, interviews, and information “All About HADESTOWN” found in the
first section of this study guide to provide them with a thematic, historical, and creative context for Anaïs Mitchell’s
HADESTOWN, developed with and directed by Rachel Chavkin. Reading aloud the interviews and investigating the
various resources will not only pique their interest, but it may also spark and fuel full-class and small-group discussion
before coming to the theatre.

Note: The HADESTOWN Character Profiles and Synopsis provide a fundamental basis for pre-performance
preparation and are used in conjunction with most of the activities and assignments outlined below.

Acts One and Two in their entirety

AN INTERACTIVE QUOTABLE Print pp. 29-33; cut out Quotation Cards 1 – 68.
HADESTOWN SYNOPSIS
Acts One and Two up to the Spoiler Alert
This synopsis activity is intended to get your students up
Print pp. 29-32; cut out Quotation Cards 1 – 57.
on their feet to embody and voice the characters as the
story of HADESTOWN is told. The Standard Synopsis, Act One only
found on pp. 11-13, can also be utilized purely as a Print pp. 29-31; cut out Quotation Cards 1 – 33.
reading or listening text.

A printer-friendly version of the Quotable Synopsis is

THE ACTIVITY
Prior to getting students up on their feet and into a circle
located in the Appendix on pp. 25-28.
to begin the Quotable Synopsis activity, you may want to
Note: Both synopses include a “Spoiler Alert,” in case share the Character Profiles with students so that they
you do not wish to reveal the climax and final resolution have more familiarity with and insight into the characters.
of the story to your students before they experience the
Distribute the 33, 57, or 68 quotation cards among your
show in performance. You may also opt to read only the
students; class size will determine how many quotations
Act One portion of the synopsis to foster anticipation and
each student will be responsible for voicing. Prompt
poll students on what they think will happen in Act Two.
students to put their quotation cards in numerical order.
Below the instructions for this activity you will find
Next ask students to consider each quotation they have
various approaches and tools for your students to reflect
received and to prepare in their mind’s eye and ear how
upon, unpack, and analyze their experience of the
they will deliver each line assigned to them both vocally
HADESTOWN synopsis.
and physically.
BEFORE CLASS To encourage them to engage in this activity
Print out a copy of the Quotable Synopsis and the enthusiastically, provide them with an example of your
Quotation Cards, found in the Appendix on pp. 29-33. own vigorous vocal and physical rendition of the Workers
You may want to print out enough copies of the synopsis line/lyric number 49: “IF I RAISED MY VOICE / IF I
so that your students can follow along. You will only RAISED MY HEAD /COULD I CHANGE MY FATE? / COULD
need one copy of the quotation cards; the cards require I CHANGE THE WAY IT IS?”
cutting.
It is up to you whether to remind your students that
Remember to choose whether you would like your HADESTOWN is a musical and that most of the quotations
students to read the synopsis in its entirety or if you in this activity are sung in performance. They needn’t
prefer that they read only Act One or Act Two up until the worry about singing their quotations for this activity.
Spoiler Alert, If you choose:
Allow for a quick 1-minute rehearsal period, in which
students are prompted to say their quotations aloud all at
the same time. Then ask everyone to stand in a circle. (if

16
you are providing copies of the synopsis for students to in HADESTOWN are based on ancient Greek
read and follow along, pass those out now.) mythological beings, did any resemble people you’ve
encountered or circumstances you’ve experienced,
Before beginning the activity, tell your students that when heard of, or know in real life? Of whom or what were
their quotation number is read, they should take a step you reminded and why?
inside the circle to perform it; deliver their line with vigor
and dynamism in the spirit of the character; and then • Is there any moment from the story that you are most
step back to rejoin the circle. excited or eager to see portrayed on stage as part of
the musical theatre performance?
You should be a part of the circle too, and read aloud For use with Quotable Synopsis only:
the synopsis of the story, calling out the numbers of the • Was there anything you noticed about the language of
quotations where indicated, and pausing for the student the individual characters? Did any of the characters
responsible for each quotation to read it aloud. As the sound like people you know in real life? Was there
leader, try to keep a quick and steady pace—the activity anything that stood out to you in the language as
is much more fun when it moves along. unique? Explain your responses.
If your students catch on quickly, you might be able to • Which characters were the most interesting or
forgo calling out the number before each quotation. challenging to voice and embody and why? Which
character would you be the most interested in
embodying/performing on stage and why?
POST-SYNOPSIS QUESTIONS AND ACTIVITIES FOR • Does knowing that the quotations in all capital letters
REFLECTION AND ANALYSIS are actually sung dialogue or the lyrics of songs
Below are various approaches and tools for your students sung in the performance of HADESTOWN affect your
to reflect upon, unpack, and analyze their experience understanding or appreciation of the quotations,
of the HADESTOWN synopsis. Pick and choose what will characters, or story?
work best with your students and overall curricular goals. If students only explore Act One or stop at the Spoiler Alert:
• What do you think will happen next? How will the
1. SIMPLE STORY COMPREHENSION REFLECTION story end? What characters will be affected, changed,
• Who are the characters in the story? or transformed and how?
• What are they like?
If students explore the entire synopsis:
• What is the setting of the story? • How do you feel about the outcome of the story? What
• What happens in the story? thoughts and emotions did it invoke in you?
If students explore the entire synopsis: • What lesson, if any, does the story teach? Or what
• What is the lesson of the story? What is the story personal message(s) do you take away from the story?
trying to explain?
3. PLOT POINT TABLEAUX ACTIVITY
2. QUESTIONS FOR JOURNALING AND/OR DISCUSSION Ask students as a group to recount the essential story
For use with both Quotable or Standard Synopsis: of HADESTOWN in 7 to 8 bulleted points written on the
• What 2 or 3 things especially struck you or stood out board.
to you about the plot, characters, relationships, or
themes of HADESTOWN? What did you find especially Then split the students up into teams of 4 or 5, assign
compelling, interesting, surprising, confusing, or each team 2 of the plot points on the board, and ask the
meaningful? teams to get up on their feet to create the tableaux for
their assigned plot points. [There may be overlap in terms
• Was there any incident, idea, or issue you of plot points, but the comparison of tableaux might be
encountered in the story that most concerned or fun and instructive.]
engaged you intellectually? Emotionally? Explain your
intellectual and emotional responses. Make sure students are clear on the definition and
• Were any of the characters already familiar to you characteristics of a tableau.
from other stories you’ve read? If so, where have you • “Tableau” is the French word for “picture.” Tableau
previously encountered them? Was there anything is used in the theatre and the classroom to create
different about their portrayals in this story? frozen pictures of important scenes or moments in a
• Even though the characters and situations story.

17
• Characters and their personalities (or objects) are HADESTOWN and what is her/his/their “action” (i.e.,
fully and boldly embodied through facial expression, what does the character want most either consciously
body position, and gesture—though they remain or subconsciously)?
silent and still. • What is the central character’s “motivation” or
• Good tableaux typically have: reason for wanting what she/he/they want?

- A focal point—characters are looking • What “conflict(s)” does the central character face in
purposefully at someone or somewhere. the course of trying to get what he/she/they want?

- A variety of levels—some figures standing, others - What are the “external conflicts” (i.e., things
crouching or sitting, and others close to the outside the character—objects or other people—
ground. that prevent the character from getting what she/
he/they want) facing the central character?
Students should work collaboratively in their teams to - Are there any “internal conflicts” (i.e., two or
determine who will embody which character and what the more actions/wants occupying the same mind) for
overall frozen picture should look like. the central character?
Each team should work for 5 minutes on the staging of • What are the actions/wants and motivations of the
each of their tableaux for a total of 10 minutes. other characters in HADESTOWN? What stands in
conflict to their actions/wants?
Then, starting at the top of the story, each plot point
tableau should be shared out in order. If students explore the entire synopsis:
• What do you consider to be the “climax” or highest
Instruct students not creating a given tableau to keep point of crisis or tension (or turning point) in story?
their eyes closed (“lights down”) as each tableau team • Describe the “resolution” or the ending of the story of
get into position. Then call out “lights up” for students to HADESTOWN? How has the major conflict of the story
open their eyes to take in the frozen picture. been resolved or answered?
Ask students to provide feedback: What do you love • Every play takes its main characters (and its
about this tableau? Do you find anything confusing? audience) on a “journey”—she/he/they start the
play thinking, acting, believing, and/or behaving in
If you want to “activate” a tableau at any point, you can a certain way, and, as a result of going through a
tap a student on the shoulder to have them say to say the great conflict, she/he/they goes through some sort
improvised thoughts of their character in the moment. of transformation or change and at the play’s end
thinks, acts, believes, behaves, or acts in a new or
Ask students to talk about the “plot point” they are most
different way. How would you describe the “journey”
eager to see played out on stage during the performance
of HADESTOWN?
of HADESTOWN.

4. ANALYZING THE STORY OF HADESTOWN—DRAMATIC 5. THEMES IN HADESTOWN

Going beyond what happens in the story, ask your
TERMS AND CONCEPTS students to discuss what HADESTOWN is about, that is,
Ask your students to consider the story of HADESTOWN in what the story means or says in terms of its themes. Have
relation to the following dramatic concepts/terms: students brainstorm a list of themes central to the story
• What are the “given circumstances” of show’s story? of the musical. [The number of recognizable themes will
- Where does the story take place? What is the be dependent upon how much of the synopsis is read.]
general locale?
• Themes might include:
- When does the story take place?
- The power of music to heal, unite, remind, help
- What are the characters’ relationships to one us understand ourselves and others, etc.
another?
- Love and its power of attraction
- Are there any economic, social, or political
- Love as a force for good
factors affecting the characters?
- Love lost or broken—it’s causes and effects
- Is there anything that has happened before
the immediate action of the show begins (e.g., - The fleeting nature of happiness
Eurydice and Orpheus meeting) that is important? - Death as an inescapable fact of human/mortal life
• Who do you consider the “central character” of - Trust and mistrust in relationships (promises

18
 kept, broken, or forgotten; loyalty) are the characters expressing to one another? What
- The natural world processes—new life/spring, does each character seem to want in the song?
development/summer, maturation/fall, death/ • What does Eurydice mean when she says, “All I’ve
winter—and their effect on humanity ever known is how to hold my own?”
- The impact of climate change • What does the song reveal about the individual
- The oppression of workers by power/authority characters in terms of their personalities/
temperaments and/or backstories?
- Fear of the outsider
• Does anything change in the course of the song or is
- Hope in the face of loss/tragedy, et al. anything achieved by its end?
• Have students choose a theme from the list • What do you think this song’s purpose or point in the
generated and ask them to free-write on the theme overall story of the musical HADESTOWN might be?
in relation to the story of HADESTOWN and their own
experience or interest. Then, have students listen to Anaïs Mitchell’s
performance of the song at the National Theatre in
• Ask students to recall and make connections to other London—available through YouTube at https://www.
works they’ve read or studied with themes similar to youtube.com/watch?v=I5Zqd9fQjoY—and ask them to
those of HADESTOWN. consider:
• If students read only Act One of the Synopsis or
stop reading at the “Spoiler Alert,” ask them what • How did hearing the music with the lyrics make you
they think will happen next in the story and what the feel?
overall message or theme of the story might be. • What type of music is it, and did the music fit the
lyrics to the song?
• Did hearing the song sung make you aware of
LISTENING PARTY: “ALL I’VE EVER KNOWN” AND something you didn’t consider before?
“WAY DOWN HADESTOWN” If students haven’t already read the quotation by Anaïs
Share with your students that the genesis of HADESTOWN Mitchell on the development of “All I’ve Ever Known” on p.
began with a lyric line that expressed itself in singer- 13, now would be a great opportunity to share it with them.
songwriter Anaïs Mitchell’s head—inspired by the myth
of Orpheus and Eurydice—that she grew into a song, “WAY DOWN HADESTOWN”
then into a series of songs exploring the Orpheus- Now share the song “Way Down Hadestown” from the
Eurydice story, then into a folk-opera “concept album” Original Broadway Cast Recording with your students—it
(i.e., musical recording unified by some theme/story), is available through You Tube at https://www.youtube.
which then was developed by Anaïs Mitchell and director com/watch?v=u-aSMoAEmtU.
Rachel Chavkin into an almost entirely sung musical
theatre experience on Broadway. Then give students the Prompt students that you will have them listen to it twice:
opportunity to explore two songs from HADESTOWN—“All First, for a general understanding of the song (characters,
I’ve Ever Known and “Way Down Hadestown.” topic/subject, story), an appreciation of it musically, and
for comparison with “All I’ve Ever Known”; and second,
“ALL I’VE EVER KNOWN” for background information for the HADESTOWN
The lyrics to “All I’ve Ever Known” are included on p.14 Design Collage project immediately below.
of this Study Guide and in the Appendix on p.34 as a
FIRST LISTEN
printer-friendly version for study.
Asks students to take notes as they listen to the song.
Have students examine the lyrics, and ask them to Before playing the song, instruct them to put at the top of
consider the following: their notebooks/papers the following guide words:

• How would you characterize this song? What sort of Characters, Topic/Subject, Imagery, Style/Genre,
song is it? Feeling/Mood, Instruments, Surprises
• What feeling or mood does the song evoke? These are all aspects of the song they might consider
• What do you notice about the overall imagery in the taking notes on as they listen to it the first time. [Note:
song? What one image or line especially stood out to A lyric sheet for “Way Down Hadestown” is available
you? in the Appendix, pp.35-36 for students with hearing
impairments or learning differences.]
• Thinking of the lyrics of the song as dialogue, what

19
Following their first listening experience, ask students: Down Hadestown,” and the Character Profiles and
Synopsis, ask your students to imagine themselves as
• How would you characterize this song? What sort of members of the HADESTOWN creative team who have
song is it? What type of music is it? been given the task of coming up with preliminary design
• What feeling or mood does the song evoke? ideas for the scenic location of Hadestown. Theatre
professionals utilize various communication tools, such
• What characters were you able to distinguish as
as “look books” and “image boards,” to inspire their work.
singers of the song?
• What does the song reveal about the individual One form of visual communication is collage, in which
characters in terms of their personalities/ paper, cutout images and text/words, paint, materials/
temperaments and/or wants? fabrics, and other small objects are glued to a piece
of paper to symbolize an environment, is spirit, and in
• What is the song about? Does it tell a story? What’s
inhabitants. Have your students make a design collage of
the story?
Hadestown.
• What do you notice about the overall imagery in the
song? Were there any images or lyrics that especially • Students should review their research materials
stood out to you? (study guide interviews, notes from the Listen Party
activity or the lyric sheet for “Way Down Hadestown”
• Where there any surprises in the song for you?
found in the Appendix, Character Profiles and
• How is “Way Down Hadestown” different from “All I’ve Synopsis) and then think of ways to visually
Ever Known” both musically and functionally? Does it communicate their impressions of Hadestown and
have a different dramatic purpose or goal as a song? its inhabitants. They should seek out images online,
in magazines (if available), and collect small objects
SECOND LISTEN
and fabric/material for their design collages.
Now have students to listen to the song again. This is a
chance to refine the notes they’ve already taken. And • They will need an 8½ x 11” sheet of paper (either
this time they should focus specifically on clues about colored paper or paper that can be painted), scissors,
Hadestown itself: What is it like? What words and images additional color paper for cutouts, magic markers,
are used to describe it? What ideas and images are colored pencils or paint for a background, and glue.
evoked in the students from the song itself? • You might also opt for your students to create
electronic collages by utilizing PowerPoint technology
After they listen to the song again, ask them if they
and images gleaned from the Internet. [Urge your
discovered anything new they would like to share.
students to avoid researching HADESTOWN and
Students now have research they can utilize for the next images from the actual production.]
activity. • Students should be given the opportunity to show
their finished collages to the class and to explain
how the images, objects, and words in their collages
HADESTOWN DESIGN COLLAGE symbolize Hadestown itself.
Share with your students the thoughts of Director Rachel
Chavkin and Scenic Designer Rachel Hauck on how they
view the of world of the musical HADESTOWN and some
of their design ideas for the overall look and feel of the
set found on The Creative Process pages (pp. 8 and 9)
of this Study Guide. Hauck describes the set we see at
the start of the show as “the best New Orleans hybrid
bar-music joint…a hybrid between Preservation Hall and
the Greek amphitheatre.” She refers to it as both cozy
and “intimate.” However, in the course of the action of
the show—when we go “Way Down Hadestown”—there
is, as Chavkin describes it, quite an “extraordinary
transformative moment” and we are transported into the
Underworld to Hadestown.

Using Chavkin and Hauck’s comments on their creative

ideas and process; clues gleaned and images and ideas
evoked from Anaïs Mitchell’s lyrics and music to “Way

20
 POST-SHOW REFLECTIVE ACTIVITIES
BACK-TO-SCHOOL BABBLE: STUDENTS’ INITIAL RESPONSE HADESTOWN
As soon after their performance experience as possible—before they leave their theatre seats, in the theatre lobby,
on the bus or subway back to school, as soon as you get back to the classroom—have students write down 5 words
to describe HADESTOWN in performance. For homework, ask students to elaborate on two of their chosen words
either as a journaling assignment, a school-based online forum, or via social media #hadestown (if sanctioned as a
classroom tool). Elaborated-upon initial responses can also be shared the next day in class.

engaging? Why were you especially intrigued or

HADESTOWN PERFORMANCE REFLECTION attracted to this particular character?
AND DISCUSSION • hat qualities were revealed by the action, speech,
W
Following their attendance at the performance of and songs of the characters? Explain your ideas.
HADESTOWN, ask your students to reflect on the
• id any characters develop or undergo a
D
questions below. You might choose to have them answer
transformation during the course of the
each individually or you may divide students into groups
production? Who? How? Why?
for small-group discussions. Have them consider each
question, record their answers and then share out their • I n what ways did the characters reveal the themes of
responses with the rest of the class. the musical? Explain your responses.

QUESTIONS TO ASK YOUR STUDENTS ABOUT THE MUSICAL IN QUESTIONS TO ASK YOUR STUDENTS ABOUT THE STYLE AND
PRODUCTION DESIGN OF THE PRODUCTION
• hat was your overall reaction to HADESTOWN?  Did
W • as there a moment in HADESTOWN that was so
W
you find the production compelling?  Stimulating?  compelling or intriguing that it remains with you in
Intriguing?  Challenging?  Memorable?  Confusing?  your mind’s eye or ear?  Write a vivid description of
Evocative?  Unique?  Delightful?  Meaningful?  Explain that moment. As you write your description, pretend
your reactions. that you are writing about the moment for someone
who was unable to experience the performance.
• id experiencing the musical in performance
D
heighten your awareness, understanding of, or • id the style and design elements of the production,
D
connection to its story and themes?  What themes unified under the directorial vision of Rachel Chavkin
or ideas were made even more apparent and/or enhance the performance? Did anything specifically
significant in production/performance? Explain your stand out to you? Explain your reactions.
responses. • id the overall production style and design reflect the
D
• Did Anaïs Mitchell’s lyrics and music effectively help central themes of the story of HADESTOWN? Explain
to tell the story of the musical and of its individual your response.
characters? Did any single song stand out to you in • hat did you notice about Rachel Hauck’s scenic
W
particular? Which song was it and why did you find it design?  Did it provide an evocative setting/location
outstanding? for HADESTOWN?  How and why, or why not?
• ow did you feel about HADESTOWN as an almost
H • hat mood or atmosphere did Bradley King’s lighting
W
entirely sung theatre piece? design and Nevin Steinberg and Jessica Paz’s sound
• o you think that the pace and tempo of the
D design establish or achieve?  Explain your experience.
production were effective and appropriate? Explain • hat did you notice about the costumes designed by
W
your opinion. Michael Krass and worn by the actors? What do you
think were the artistic and practical decisions that
QUESTIONS TO ASK YOUR STUDENTS ABOUT THE went into the conception of the costumes?
CHARACTERS
• ow did choreographer David Neuman’s dance
H
• id you personally identify with any of the characters
D
direction serve to illuminate the characters and
in HADESTOWN? Who? Why? If no, why not?
themes of the story and style of the musical?
• W hat character did you find most interesting or

21
QUESTIONS TO ASK YOUR STUDENTS ABOUT THE fear, then try to a name on the effect that the theatre
musical in performance had on you.
PERFORMERS AND THEIR PERFORMANCES
• hat did you notice and think about the acting
W • I magine that you are a student of Plato today in
ensemble of HADESTOWN—their casting and 2020, and you feel passionately about taking on his
composition as a company, as well as their talent and challenge. Why should tragic musical theatre and
skill as performers? its poet-creators—such as HADESTOWN and Anaïs
Mitchell —be admitted into the ideal city state? What
• as there one performer/actor and his/her/their
W purposeful or useful reason do they serve in society?
performance that especially stood out to you? What
about his/her/their performance did you find most 2. ON THE POWER OF MYTH IN 2020 CE—WHAT DOES IT ALL
affecting?
MEAN TO YOU?
• I f you could ask the ensemble or an actor one or two In the quotation from The Power of Myth featured on p. 4
questions, what would you ask them? in this Study Guide, noted literature professor and expert
on comparative mythology and religion Joseph Campbell
says:
HADESTOWN FAVORITE MOMENTS TABLEAUX “When the story [of a myth] is in your mind, then you
Reunite your classroom tableaux teams to recreate their see its relevance to something happening in your own
favorite moments from their performance experience of life. It gives you perspective on what’s happening
HADESTOWN. to you. […] These bits of information from ancient
times […] have to do with deep inner problems, inner
• ableaux teams should discuss as a group their
T mysteries, inner thresholds of passage, and if you
favorite moments from the theatrical experience. don’t know what the guide signs are along the way,
Then they you choose two moments from the show to you have to work it out for yourself.”
recreate.
Ask student to consider the following questions:
• review of what defines good tableaux as outlined in
A
this Study Guide on p. 17 may prove helpful before • id the mythical story played out in HADESTOWN
D
teams get up on their feet. in any way resonate with you or seem relevant to
something happening in your own life or the life of
• ach group should work for 5 minutes on the staging
E someone you know?
of each of their tableaux for a total of 10 minutes.
Then each team should share out for the class to • hat themes in your own life connect with themes
W
see if the other students know what moment from touched upon in HADESTOWN?
HADESTOWN they are recreating. A list of themes appears on p. 18 of this Study Guide. You
• I f social media is sanctioned as a classroom tool, may also take a moment to have your students generate a
photograph the classroom tableaux and post to list of themes themselves, if they haven’t done so already.
Instagram #hadestown.

WRITING THE “LOOK BACK” MONOLOGUE

ADDITIONAL POST-SHOW DISCUSSION POINTS FOR Ask students to reflect on the climactic moment in
HADESTOWN HADESTOWN when Orpheus looks back to see if Eurydice
is still behind him, and then have them each choose a
1. ON “THE TRAGIC EFFECT” TODAY: PITY, FEAR, OR SOME character from the story from whose perspective they
OTHER FEELING IN 2020? should write a monologue reacting to and reflecting upon
Share or review with your students the brief article on what has just happened. Student playwrights should
“Aristotle and the Tragic Effect” found on p. 7 of this consider the voice and personality of the person(s)
Study Guide and then ask them to consider Aristotle’s [students can opt for portrayals of the Fates and Workers
definition from Poetics, specifically in relation to his Chorus] they select as designed by Anaïs Mitchel and aim
assertion that the experience of tragic plays evokes for a consistency of voice and characterization.
feelings of pity (i.e., sympathetic suffering or distress)
and fear in its audience and allows for those excessive Monologues can be shared out by their writers
and negative emotions to be purged or cleansed from the themselves or students can present the dramatic work of
viewers. their classmates.

• hat feelings or emotions were evoked in you as a

W
result of your HADESTOWN experience? If not pity or

22
CHALLENGE!
For homework or as a separate assignment, ask students
to turn their monologues into song lyrics or a poem à la
Anaïs Mitchell. If students choose to write songs, ask
them to see if they can write a few verses and a chorus.

WRITING THE REVIEW OF HADESTOWN

Have your students take on the role of theater critic by
writing a review of HADESTOWN.

A theater critic or reviewer is essentially a “professional

audience member,” whose job is to provide reportage of
a play’s production and performance through active and
descriptive language for a target audience of readers
(e.g., their peers, their community, or those interested in
the arts). Critics/reviewers offer analysis of the theatrical
event to provide a clearer understanding of the artistic
ambitions and intentions of a play and its production;
reviewers often ask themselves, “What is the playwright
and this production attempting to do?” Finally, the critic
offers personal judgment as to whether the artistic
intentions of a production were achieved, effective and
worthwhile.

Things for students to consider before writing:

• heater critics/reviewers should always back up their

T
opinions with reasons, evidence and details.
• he elements of production that can be discussed
T
in a theatrical review are the play text—in this case,
Anaïs Mitchell’s script or “book” for the musical,
inclusive of her song lyrics—and its themes, plot,
characters, etc.; scenic elements; costumes; lighting;
sound; music; choreography; acting; and direction
(i.e., how all of these elements are put together).
You may want to provide students with sample theater
reviews from a variety of newspapers.
Encourage your students to submit their reviews to the
school newspaper for publication.

THANK YOU, EDUCATORS,

FOR SHARING THE

EXPERIENCE WITH YOUR STUDENTS!

23
 CHARACTER PROFILES
PEOPLE TURN ON YOU JUST LIKE THE WIND
HADESTOWN CHARACTER PROFILES EVERYBODY IS A FAIRWEATHER FRIEND
IN THE END YOU’RE BETTER OFF ALONE
(IN ORDER OF APPEARANCE) ANY WAY THE WIND BLOWS
…
HERMES [HUR’-MEEZ] YOU WOULD DO ANYTHING
In Greek mythology, fleet-footed guide, messenger of the JUST TO FILL YOUR BELLY FULL OF FOOD
gods, and conductor of souls to the Underworld. In some FIND A BED THAT YOU COULD FALL INTO
tellings, it was Hermes who taught Orpheus to play the WHERE THE WEATHER WOULDN’T FOLLOW YOU
lyre. In this telling, he is a worldly-wise narrator, master-
of-ceremonies, and friend and mentor to Orpheus. PERSEPHONE [PER-SEF’-UH-NEE]
AND ON THE ROAD TO HELL THERE WAS A RAILROAD Goddess of the seasons, flowers, fruit, and grain. By
STATION arrangement, she spent half the year with Hades in the
[MMMM…] Underworld, causing fall and winter above. The other
AND A MAN WITH FEATHERS ON HIS FEET half she returned to her mother, bringing spring and
[MMMM…] summer with her. In this modern version, she plays the
WHO COULD HELP YOU TO YOUR FINAL DESTINATION good-time party girl to dull her disenchantment with said
arrangement and other problems in her marriage.
Mr. Hermes, that’s me!
NOW SOME MAY SAY THE WEATHER AIN’T THE WAY IT
FATES [FEYTS] USED TO BE
Three goddesses who together determined the destinies BUT LET ME TELL YOU SOMETHING THAT MY MAMA
of mortals, measuring their lifespans and apportioning SAID TO ME:
their suffering. In this story, they follow, fluster, niggle, YOU TAKE WHAT YOU CAN GET
and cast doubt and insecurity in the minds of some. AND YOU MAKE THE MOST OF IT
SO RIGHT NOW WE’RE LIVING IT
LIFE AIN’T EASY LIVIN’ IT—LIVIN’ IT UP
LIFE AIN’T FAIR BROTHER RIGHT HERE WE’RE LIVIN’ IT
A GIRL’S GOTTA FIGHT FOR A RIGHTFUL SHARE LIVIN’ IT UP ON TOP!
WHAT YOU GONNA DO WHEN THE CHIPS ARE DOWN?
…
HELP YOURSELF
HADES [HEY’-DEEZ]
TO HELL WITH THE REST God of the dead, ruler of the Underworld, sometimes
EVEN THE ONE WHO LOVES YOU BEST called “the Wealthy One.” He fell in love with and married
WHAT YOU GONNA DO WHEN THE CHIPS ARE DOWN Persephone. Her mother, the goddess of the harvest,
refused to bless the earth while Persephone was below.
ORPHEUS [AWR’-FEE- UH S] In this version of the story, he is a greedy and zealous
industrialist.
Son of the muse of epic poetry, engaged to marry
Eurydice. With his golden voice and lyre, Orpheus HERE I FASHIONED THINGS OF STEEL
charmed all living things, even rocks and stones. This OIL DRUMS AND AUTOMOBILES
modernized account features an Orpheus on a musical THEN I KEPT THAT FURNACE FED
mission beyond his love for Eurydice. WITH THE FOSSILS OF THE DEAD
LOVER WHEN YOU FEEL THAT FIRE
THAT’S WHAT I’M WORKING ON
THINK OF IT AS MY DESIRE FOR YOU
A SONG TO FIX WHAT’S WRONG
TAKE WHAT IS BROKEN, MAKE IT WHOLE
A SONG SO BEAUTIFUL
WORKERS CHORUS [WUR’-KERZ / KOHR’-UH S]
IT BRINGS THE WORLD BACK INTO TUNE In ancient Greek theater, the Chorus sang, spoke, and
BACK INTO TIME danced in unison. Often representing the voice of citizens,
AND ALL THE FLOWERS WILL BLOOM the Chorus commented on the actions of characters and
served as an emotional conduit for the audience.
EURYDICE [YOO-RID’-UH-SEE] OH, KEEP YOUR HEAD, KEEP YOUR HEAD LOW (KKH)\
A dryad, or tree nymph, engaged to marry Orpheus. On OH, YOU GOTTA KEEP YOUR HEAD LOW (KKH)
the day of their wedding, she was bitten by a poisonous IF YOU WANNA KEEP YOUR HEAD (HUH, KKH)
snake, died, and descended into the Underworld. The OH, YOU GOTTA KEEP YOUR HEAD LOW
Eurydice of this version is a runaway who has experienced
much hardship in her young life, which makes it hard for
her to trust others.

24
 doesn’t remember seeing a spring or fall. He affirms
HADESTOWN QUOTABLE SYNOPSIS that that’s why he’s writing his song, and it will be (15. A
SONG SO BEAUTIFUL / IT BRINGS THE WORLD BACK
ACT ONE INTO TUNE / BACK INTO TIME / AND ALL THE FLOWERS
In an intimate New Orleans-style jazz music joint and WILL BLOOM) and adds, (16. When you become my
bar, a master of ceremonies-like Narrator turns to the wife). Eurydice tells Hermes that Orpheus is crazy, and
diverse group of people surrounding him at tables and teasingly challenges Orpheus to sing his song, but when
in the bandstand, and he asks expectantly (1. Alright?), he hesitates, because it isn’t finished yet, she dares (17.
and they respond robustly, “ALRIGHT!” As the music Sing it! / You wanna take me home?.../ Sing the song!)
starts at his prompting, the Narrator steps up to the Orpheus begins singing a beautiful tune (18. LA LA LA
microphone and begins, (2. ONCE UPON A TIME LA LA LA LA), and, as if by magic, a beautiful red flower
THERE WAS A RAILROAD LINE / DON’T ASK WHERE, appears. Eurydice, recognizing the magical power of
BROTHER, DON’T ASK WHEN / It was the road to hell / Orpheus’ song, asserts (19. You have to finish it!). It is
It was hard times / It was a world of gods… / AND MEN). clear as with the blossoming flower, love for Orpheus has
He continues, (3. IT’S AN OLD SONG / It’s an old tale bloomed in her.
from way back when / IT’S AN OLD SONG / and WE’RE
GONNA SING IT AGAIN). Then he announces, (4. We Having heard Orpheus’ song, Hermes asks him where it
got some gods in the house tonight.) and commences came from and Orpheus tells him that it just came to him.
with the introductions of the goddess trio, the Fates; Hermes replies, (20. IT’S AN OLD SONG / A SONG OF
Persephone; her husband Hades; and, (5. Oh yeah, LOVE FROM LONG AGO / LONG TIME SINCE I HEARD IT,
almost forgot… / ON THE ROAD TO HELL THERE WAS THOUGH), and reminds Orpheus that he once told him
A RAILROAD STATION / AND A MAN WITH FEATHERS the tale of the gods Hades and Persephone, whose love
ON HIS FEET / WHO COULD HELP YOU TO YOUR FINAL once made the world go round. Prompted by Hermes,
DESTINATION / Mister Hermes, that’s me!) After he Orpheus recounts the story of how Hades the King of the
takes a bow, Hermes confides, (5. SEE SOMEONE’S GOT Underworld fell in love with Persephone when he saw
TO TELL THE TALE / WHETHER OR NOT IT TURNS OUT her walking in the world of the living gathering flowers.
WELL / MAYBE IT WILL TURN OUT THIS TIME / ON THE Hades took Persephone home to be his queen and they
ROAD TO HELL, ON THE RAILROAD LINE). Not quite lived with and loved one another in the Underworld.
through with introductions, Hermes muses (6. Now, not However, without her in the land of the living, no flowers
everyone gets to be a god / And don’t forget that times or vegetation would grow, so Hades agreed that for half
are hard / Hard times in the world of men! / Let me of the year Persephone would stay with him below and for
introduce you to a few of them) He presents a chorus the other half she would walk up above in the sun, and,
of Workers, the Band, Orpheus—whom he describes as Orpheus notes (21. WHICH IS WHERE THE SEASONS
as a poor boy touched by the gods themselves—and COME FROM / AND WITH THEM THE CYCLE / OF THE
he concludes the introductions with (7. THERE WAS A SEED AND THE SICKLE / AND THE LIVES OF THE
YOUNG GIRL LOOKING FOR SOMETHING TO EAT / AND PEOPLE / AND THE BIRDS IN THEIR FLIGHT). Hermes
BROTHER, THUS BEGINS THE TALE / Of Orpheus…and reflects that for a long time Hades and Persephone
Eurydice!). sang of love, and the world and the Underworld were
in harmony and rhythm, until something changed. Now
Eurydice steps forward, (8. Anybody got a match?); the world is always waiting for Persephone and spring to
she is a hungry and homeless runaway blown into town, come, and she’s never early and never stays for long.
followed, and seemingly harassed, by the Fates. She is
seen by Orpheus, of whom Hermes says (9. And this poor As if on cue, a train whistle is heard and Persephone
boy, he wore his heart / Out on his sleeve / You might herself arrives (22. ARE YOU WONDERING WHERE I
say he was naïve / To the ways of the world). Hermes BEEN?.../ BEEN TO HELL AND BACK AGAIN). Instantly it
asks Orpheus if he wants to talk to Eurydice, and when becomes summertime, and everyone lives it up. Hermes
Orpheus says yes, Hermes warns him (10. Don’t come notices (23. The flowers bloomed, the fruit got ripe /
on too strong). Orpheus approaches Eurydice and he And brother, for a moment there… / The world came
blurts out immediately (11. COME HOME WITH ME). back to life!) A celebration ensues. Everyone cheers
Eurydice, taken aback, asks, (12. Who are you?) to which Persephone’s return and Orpheus is called upon to
he replies, (13. THE MAN WHO’S GONNA MARRY YOU). toast her: (24. TO THE PATRONESS OF ALL OF THIS: /
She turns to Hermes and inquires, (14. Is he always Persephone! / WHO HAS FINALLY RETURNED TO US
like this?) to which Hermes answers, “Yes.” Orpheus WITH WINE ENOUGH TO SHARE), and he thoughtfully
tells Eurydice that he is a singer and a lyre player and adds (25. And if no one takes too much / There will
is writing a song that, when it is complete, and he sings always be enough / She will always fill our cups). Amid
it, spring will come again. Eurydice tells him that she the bounty of summertime Orpheus and Eurydice open

25
up to one another in full blown love. She asks of him, (26. HERE? / HOTTER THAN A CRUCIBLE / IT AIN’T RIGHT
SAY THAT YOU’LL HOLD ME FOREVER / SAY THAT THE AND IT AIN’T NATURAL). Trying to get her to reframe
WIND WON’T CHANGE ON US / SAY THAT WE’LL STAY her negative perspective, Hades shares with Persephone
WITH EACH OTHER / AND IT WILL ALWAYS BE LIKE how lonesome he’s been without her and shows her all
THIS) and he pledges to her, (27. I’M GONNA HOLD YOU of the things that he’s accomplished—for her, he says—
FOREVER / THE WIND WILL NEVER CHANGE ON US / while she’s been away, including building a foundry to
LONG AS WE STAY WITH EACH OTHER / THEN IT WILL make steel and laying a power grid to electrify the city.
ALWAYS BE LIKE THIS). Passionately he says to her (47. LOVER WHEN YOU
FEEL THAT FIRE / THINK OF IT AS MY DESIRE), but
A train whistle blows, and Persephone exclaims with Persephone, instead of being impressed by the industrial
upset, (28. That was not six months). The Fates instruct complex her husband has created, is shocked (48. LOVER
her, (29. BETTER GO GET YOUR SUITCASE PACKED WHAT HAVE YOU BECOME? / COAL CARS AND OIL
/ GUESS IT’S TIME TO GO). Persephone is not happy DRUMS / WAREHOUSE WALLS AND FACTORY FLOORS
about the prospects of returning to the Underworld, also / I DON’T KNOW YOU ANYMORE). Feeling rejected,
known as Hadestown. As she describes it, (30. DOWN Hades decides that if Persephone doesn’t appreciate
THERE IT’S A BUNCH OF STIFFS! / BROTHER, I’LL BE him and want his love, he will find someone that does,
BORED TO DEATH / GONNA HAVE TO IMPORT SOME (49. SOMEONE GRATEFUL FOR HER FATE / SOMEONE
STUFF / JUST TO ENTERTAIN MYSELF). Hermes agrees WHO APPRECIATES / THE COMFORTS OF A GILDED
with her about the conditions in Hadestown, adding, CAGE / AND DOESN’T TRY TO FLY AWAY). He ascends
(31. EVERYBODY HUNGRY, EVERYBODY TIRED / to the land of the living just in time to find the frantic and
EVERYBODY SLAVES BY THE SWEAT OF HIS BROW needy Eurydice; he approaches her seductively, (50. HEY
/ THE WAGE IS NOTHING AND THE WORK IS HARD / LITTLE SONGBIRD / YOU GOT SOMETHING FINE /YOU’D
IT’S A GRAVEYARD IN HADESTOWN). Then together SHINE LIKE DIAMOND DOWN IN THE MINE / AND THE
everyone describes the King of Hadestown: (32. MISTER CHOICE IS YOURS, IF YOU’RE WILLING TO CHOOSE /
HADES IS A MEAN OLD BOSS) (31. WITH A SILVER SEEING AS YOU GOT NOTHING TO LOSE). Hades offers
WHISTLE AND A GOLDEN SCALE) (33. AN EYE FOR Eurydice one coin and tells her that it’s her ticket. The
AN EYE!) (34. AND HE WEIGHS THE COST) (35. A LIE choice is between staying with Orpheus or coming to
FOR A LIE) (36. AND YOUR SOUL FOR SALE). The train the Underworld, where she will be fed and sheltered.
arrives and Hades appears. Persephone says to him with Though her heart aches for Orpheus, she is overcome by
great annoyance, (37. You’re early) to which he responds hunger and need and chooses to descend. She gives the
passionately, (38. I missed you). The Fates lean in to coins to Hermes and leaves as the train whistle blows.
remark temptingly to Eurydice, (39. MISTER HADES IS Not long after Eurydice has gone, Orpheus approaches
A MIGHTY KING / MUST BE MAKING SOME MIGHTY Hermes and asks where Eurydice is. Hermes questions,
BIG DEALS / SEEMS LIKE HE OWNS EVERYTHING) to (51. Brother, what do you care? / You’ll find another
which she wonders, (40. KIND OF MAKES YOU WONDER muse somewhere). Orpheus is shocked by the news that
HOW IT FEELS…). Hades takes special notice of the girl, Eurydice has gone to the Hadestown and he vows (52.
before he, Persephone, and the Workers move to depart WHEREVER SHE IS IS WHERE I’LL GO). Hermes tells him
to the Underworld. that without a ticket he will have go the long way down,
which is hard to walk and there isn’t a map. Hermes
The moment they leave it turns suddenly cold. Orpheus
offers Orpheus detailed instructions on the journey and
expresses his great concern, (41. HE CAME FOR HER
Orpheus sets out calling for Eurydice, (53. WAIT FOR ME,
TOO SOON / It’s not supposed to be like this) to which
I’M COMING / WAIT, I’M COMING WITH YOU / WAIT FOR
Eurydice very practically responds, (42. Well, till
ME, I’M COMING TOO / I’M COMING TOO). Meanwhile
someone BRINGS THE WORLD BACK INTO TUNE / This
in the Underworld, Hades stages a public celebration of
is how it is). Orpheus, renewing his mission, announces,
a wall he has made the workers build to keep Hadestown
(43. I HAVE TO FINISH THE SONG) and gets to work
safe from the enemy—which he explains is poverty. In a
with a focus so strong that he doesn’t hear Eurydice’s
moment of dramatic irony, Eurydice arrives in Hadestown.
concern that they have no food nor firewood. She begins
Hades sees her and commands, (54. There are papers to
to look for them herself, while Orpheus’ thoughts are
be signed / Step into my office). And with that, Eurydice
completely occupied by his songwriting, (44. LA LA
goes into the office with Hades and the door closes.
LA LA LA LA LA). Meanwhile down in Hadestown, the
Workers get right to laboring, (45. OH, KEEP YOU HEAD,
KEEP YOUR HEAD LOW / IF YOU WANT TO KEEP YOUR
HEAD / OH, YOU GOTTA KEEP YOUR HEAD LOW) and
Persephone is none too happy to be back, (46. IN THE
COLDEST TIME OF YEAR / WHY IS IT SO HOT DOWN

26
 YOU’RE BOUND, YOU’RE BOUND, YOU’RE BOUND TO
ACT TWO LOSE / WHAT’S DONE, WHAT’S DONE, WHAT’S DONE
Back in Hadestown, Persephone has overheard Hades IS DONE…/ NOTHING CHANGES ANYHOW). Orpheus
instruct Eurydice, and she repeats his command, (1. asks himself aloud, thinking no one can hear him, (20. Is
Step into my office). To drown her sorrows and cheer this how the world is? / TO BE BEATEN AND BETRAYED
herself up, she sings a song with the Band, (2. OOH, HOW AND THEN BE TOLD THAT / NOTHING CHANGES, IT’LL
LONG’S IT BEEN? / A LITTLE MOONSHINE AIN’T NO SIN ALWAYS BE LIKE THIS / IF IT’S TRUE WHAT THEY SAY
/ TELL MY HUSBAND TO TAKE HIS TIME / WHAT THE / I’LL BE ON MY WAY). As he turns to leave, the Workers
BOSS DON’T KNOW / THE BOSS WON’T MIND). As she hear him, stop their working, and stand and listen to
finishes her song, Eurydice steps out of Hades’ office and him, as he continues to question the circumstances of
she is confronted by the Fates who ask, (3. The deal is the situation, (21. BUT WHO ARE THEY TO SAY / WHAT
signed?) When she answers yes, they tell her to (4. Get THE TRUTH IS ANYWAY?). The Workers response further
on the line). Eurydice joins the Workers on the line and encourages Orpheus’ self-examination (22. I BELIEVE IF
when she tries to introduce herself to them, they don’t THERE IS STILL A WILL THEN THERE IS STILL AWAY)
respond. The Fates tell her, (5. They can hear / But they and they reply in strength, (23. WE’RE STANDIN’ WITH
don’t care / No one has a name down here). Eurydice HIM), which spurs him on further (24. I BELIEVE THAT
asks the Fates (6. Why won’t anybody look at me?) and WITH EACH OTHER WE ARE STRONGER THAN WE
they respond (7. They can look / But they don’t see / You KNOW… / I BELIEVE WE’RE STRONGER THAN THEY
see? / It’s easier that way… / Your eyes will look like that KNOW / I BELIEVE THAT WE ARE MANY / I BELIEVE
someday). When they explain to her that that is what it THAT THEY ARE FEW… / AND IT ISN’T FOR THE FEW
looks like to forget and that she will eventually forget who TO TELL THE MANY WHAT IS TRUE).
she is and everything that came before, she insists, (8. I
have to go). And then they ask her where she is from and As the workers band around Orpheus, Persephone
what her name is, Eurydice pauses, and they observe (9. corners Hades and stands up for Orpheus, (25. He loves
You’ve already forgotten…). She tries to hold tight to the that girl, Hades… / He has the kind of love for her / That
remnants of her memory (10. FLOWERS, I REMEMBER you and I once had). Hades assures Persephone that the
FIELDS / OF FLOWERS, SOFT BENEATH MY HEELS girl, Eurydice means nothing to him, and Persephone
/ I REMEMBER SOMEONE / SOMEONE BY MY SIDE / counters, (26. I know / But she means everything to him),
TURNED HIS FACE TO MINE), while woefully regretting meaning Orpheus, and she tells Hades to let her go.
the choice she has made (11. YOU, THE ONE I LEFT
Realizing that the Workers have stopped working, Hades
BEHIND / IF YOU EVER WALK THIS WAY / COME AND
pulls the steam whistle to get them back to work, and
FIND ME / LYING IN THE BED I MADE).
he again confronts Orpheus (27. YOUNG MAN! GOT TO
Orpheus arrives in Hadestown and finds Eurydice, who HAND IT TO YA / GUESS YOU DON’T SCARE EASY, DO
still recognizes him. She is amazed that he has come YA? / ARE YOU BRAVE, OR STUPID, SON? / DOESN’T
for her and asks how he made it beyond the wall. He MATTER WHICH ONE). The Workers, like Orpheus,
explains, (12. I SANG A SONG SO BEAUTIFUL / THE continue to question their circumstances: (28. IF I
STONES WEPT AND THEY LET ME IN / AND I CAN SIGN RAISED MY VOICE) (29. IF I RAISED MY HEAD) (30.
US HOME AGAIN). She is about to explain why that is not COULD I CHANGE MY FATE?) (31. COULD I CHANGE
possible, when Hades appears and confronts Orpheus THE WAY IT IS?) Hades then demands of Orpheus,
angrily (13. Go back to where you came from / You’re on (32. GIVE ME ONE MORE SONG / ONE MORE SONG
the wrong side of the fence). Persephone, who recognizes BEFORE I SEND YOU / TO THE GREAT BEYOND / WHERE
Orpheus steps in and tells Hades she knows him. He NOBODY CAN HEAR YOU SINGING).
demands (14. You stay out of this). Orpheus, standing
In this moment, at last, Orpheus begins to sing the song
up to Hades proclaims bravely (15. I’M NOT GOING
he’s been working. Hades is pleased to hear that the song
BACK ALONE / I CAME TO TAKE HER HOME) to which
is about him, but when Orpheus gets to the (33. LA LA LA
Hades retorts, (16. You’re not from around here, son /
LA LA LA LA), he interrupts, (34. Where’d you get that
If you were, then you would know / that everything and
mel-ody?) Persephone intervenes (35. Let him finish,
everyone / In Hadestown, I own!) Hades then divulges
Hades.) In the course of the song, Orpheus describes
that Eurydice sold herself to him (17. She signed the deal
Hades experi-ence of falling in love with Persephone
herself). Orpheus doesn’t believe him, (18. It isn’t true! /
(36. IT WAS LIKE YOU WERE HOLIDING THE WORLD
What he said— / EURYDICE!) To which she admits, (18.
WHEN YOU HELD HER / LIKE YOURS WERE THE ARMS
—I did / I do).
THAT THE WHOLE WORLD WAS IN / AND THERE WERE
Orpheus is crushed by Eurydice’s admission. The Fates NO WORDS FOR THE WAY THAT YOU FELT / SO YOU
counsel (19. IT AIN’T, IT AIN’T, IT AIN’T NO USE / OPENED YOUR MOUTH AND YOU STARTED TO SING

27
/ LA LA LA LA LA LA LA). Then Orpheus sings of the SPOILER ALERT
greedy, troubled man, Hades has become (37. HE’S
GROWN SO AFRAID THAT HE’LL LOSE WHAT HE OWNS If you don’t wish to reveal the climax and ending of the
/ BUT WHAT HE DOESN’T KNOW IS THAT WHAT HE’S story of Hadestown do not include the rest of the page
DEFENDING / IS ALREADY GONE) and then asks of when photocopying
Hades in song (38. WHERE IS THE TREASURE INSIDE
OF YOUR CHEST? / WHERE IS YOUR PLEASURE? Everything stops. And then, out of the silence, Hermes
WHERE IS YOUR YOUTH? / WHERE IS THE MAN WITH says (61. Alright…) After a moment, Hermes continues
HIS ARMS OUT-STRETCHED / TO THE WOMAN HE slowly:
LOVES WITH NOTHING TO LOSE?) to which Hades
62. IT’S AN OLD SONG
replies (39. LA LA LA LA LA LA LA), and when the Kind of
IT’S AN OLD TALE FROM WAY BACK WHEN
the Underworld turns and sings the melody with his love
IT’S AN OLD SONG
Persephone, a beautiful red flower appears. As Hermes
And that…is how it ends.
tells it, (40. Orpheus was a poor boy / But he had a gift to
give / This poor boy brought the world / Back into tune, is 63. THAT’S HOW IT GOES
what he did). Hades and Persephone dance and remain DON’T ASK WHY, BROTHER, DON’T ASK HOW
in one another’s arms. HE COULD HAVE COME SO CLOSE
THE SONG WAS WRITTEN LONG AGO
Eurydice approaches Orpheus remarking on his
And that is how it goes
completion of the song. He asks her (41. Now what do
I do?) She replies, (42. Take me home with you). They 64. IT’S A SAD SONG
decide that they will walk back the way Orpheus came IT’S A SAD TALE, it’s a tragedy
and will show the Workers the way back as well. When IT’S A SAD SONG
Orpheus approaches Hades to ask (43. Can we go?), But we sing it anyway
Hades answers, (44. I don’t know). After consulting
with the Fates who warn him: (45. IF YOU TELL ‘EM NO 65. Cos here’s the thing
/ YOU’RE A HEARTLESS MAN / AND YOU’RE GONNA To know how it ends
HAVE A MARTYR ON YOUR HANDS), but (46. IF YOU And still begin
LET ‘EM GO / YOU’RE A SPINELESS KING / AND YOU’RE To sing it again
NEVER GONNA GET ‘EM IN LINE AGAIN). Rather bitter As if it might turn out this time
over Orpheus’ effect on his Workers and their demands I learned it from a friend of mine.
for freedom, Hades tells Hermes that Orpheus and
Orpheus leaves, and then Hermes says, (66. See Orpheus
Eurydice can go, under one condi-tion, which he makes
was a poor boy) and Eurydice enters, as she did before,
Hermes explain to the young lovers (47. Well, the good
(67. Anybody got a match?) and the story begins again.
news is / He said that you can go… / There’s bad news,
Hermes continues (68. ON A SUNNY DAY THERE WAS
though… / You can walk… / But it won’t be like you
A RAILROAD CAR / AND A LADY STEPPING OFF OF A
planned. / He said you have to walk in front / And she has
TRAIN / EVERYBODY LOOKED AND EVERYBODY SAW),
to walk in back. / And if you turn around / To make sure
Persephone appears and Hermes sing (69. That spring
she’s coming, too / Then she goes back to Hadestown /
HAD COME AGAIN… / WITH A LOVE SONG). He is joined
And ain’t nothing you can do.) Orpheus calls it a trap, but
by the others [THE WHOLE CLASS TOGETHER: IT’S A
Hermes defines it as more of a trial and asks them (48.
SAD SONG / IT’S AN OLD SONG / AND WE’RE GOING TO
Do you trust each other? / Do you trust yourselves?), and
SING IT / AGAIN AND AGAIN]. At once Orpheus enters
Eurydice and Orpheus both agree they do.
and sees Eurydice.
As the young lovers leave Hadestown, Persephone asks
Persephone, Eurydice and the HADESTOWN Company
Hades if he thinks they’ll make it. He isn’t sure. Then she
sing a toast to Orpheus and to all of us.
asks him about them, (49. Are we going to try again?)
and he responds (50. It’s time for spring / We’ll try again END OF SHOW.
next fall). She asks him to wait for her and he tells her
that he will.

28
 QUOTABLE SYNOPSIS QUOTATION CARDS

NARRATOR ORPHEUS ORPHEUS

1. Alright! 6. COME HOME WITH ME. 11. LA LA LA LA LA LA LA

NARRATOR
2. ...AN OLD SONG
ORPHEUS EURYDICE
It’s an old tale from way back when
7. THE MAN WHO’S GONNA MARRY YOU. 12. You have to finish it!
IT’S AN OLD SONG
and WE’RE GOING TO SING IT AGAIN

HERMES
3. Oh yeah, almost forgot... ORPHEUS
ON THE ROAD TO HELL THERE WAS A 8. A SONG SO BEAUTIFUL HERMES
RAILROAD STATION 13. IT’S AN OLD SONG
ITS BRINGS THE WORLD BACK INTO TUNE
AND MAN WITH FEATHERS IN HIS FEET A SONG OF LOVE FROM LONG AGO
WHO COULD HELP YOU TO YOUR BACK INTO ME LONG TIME SINCE I HEARD IT, THOUGH
FINAL DESTINATION AND ALL THE FLOWERS WILL BLOOM.
Mister Hermes, that’s me!

ORPHEUS
14. WHICH IS WHERE THE SEASONS
COME FROM
EURYDICE ORPHEUS
AND WITH THEM THE CYCLE
4. Anybody got a match? 9. When you become my wife.
OF THE SEED AND THE SICKLE
AND THE LIVES OF THE PEOPLE
AND THE BIRDS IN THEIR FLIGHT.

EURYDICE
PERSEPHONE
HERMES 10. Sing it!
15. ARE YOU WONDERING WHERE I BEEN...
5. Don’t come on too strong. You wanna take me home?
BEEN TO HELL AND BACK AGAIN
Sing the song!

29
30
QUOTABLE SYNOPSIS QUOTATION CARDS
HERMES & COMPANY
21. MISTER HADES IS A MEAN OLD BOSS
ORPHEUS EURYDICE
WITH A SILVER WHISTLE AND A GOLDEN SCALE
16. And if no one takes too much 26. Well, till someone BRINGS THE WORLD
AN EYE FOR AN EYE!
There will always be enough BACK INTO TUNE
AND HE WEIGHS THE COST
She will always fill our cups This is how it is.
A LIE FOR A LIE
AND YOUR SOUL FOR SALE

EURYDICE
17. SAY THAT YOU’LL HOLD ME FOREVER
HADES ORPHEUS
SAY THAT THE WIND WON’T CHANGE ON US
22. I missed you. 27. LA LA LA LA LA LA LA
SAY THAT WE’LL STAY WITH EACH OTHER
AND IT WILL ALWAYS BE LIKE THIS.

ORPHEUS FATES
18. I’M GONNA HOLD YOU FOREVER HADES
23. MISTER HADES IS A MIGHTY KING
THE WIND WILL NEVER CHANGE ON US 28. LOVER WHEN YOU FEEL THAT FIRE
MUST BE MAKING SOME MIGHTY BIG DEALS
LONG AS WE STAY WITH EACH OTHER THINK OF IT AS MY DESIRE.
THEN IT WILL ALWAYS BE LIKE THIS. SEEMS LIKE HE OWNS EVERYTHING.

HADES
EURYDICE 29. SOMEONE GRATEFUL FOR HER FATE
PERSEPHONE
24. KIND OF MAKES YOU WONDER HOW SOMEONE WHO APPRECIATES
19. That was not six months!
IT FEELS... THE COMFORTS OF A GILDED CAGE
AND DOESN’T TRY TO FLY AWAY.

HADES
30. HEY LITTLE SONGBIRD
PERSEPHONE
YOU GOT SOMETHING FINE
20. DOWN THERE IT’S A BUNCH OF STIFFS! ORPHEUS
YOU’D SHINE LIKE A DIAMOND DOWN
BROTHER, I’LL BE BORED TO DEATH 25. HE CAME FOR HER TOO SOON
IN THE MINE
GONNA HAVE TO IMPORT SOME STUFF It’s not supposed to be like this.
AND THE CHOICE IS YOURS,
JUST TO ENTERTAIN MYSELF.
IF YOU’RE WILLING TO CHOOSE
SEEING AS YOU GOT NOTHING TO LOSE
 QUOTABLE SYNOPSIS QUOTATION CARDS
HADES
HERMES 41. You’re not from around here, son
FATES
31. Brother, what do you care? If you were, then you would know
36. You’ve already forgotten...
You’ll find another muse somewhere. that everything and everyone
In Hadestown, I own!

EURYDICE
HADES
37. FLOWERS, I REMEMBER FIELDS ORPHEUS
32. WAIT FOR ME, I’M COMING
OF FLOWERS, SOFT BENEATH MY HEELS 42. It isn’t true! /
WAIT, I’M COMING WITH YOU
I REMEMBER SOMEONE What he said–
WAIT FOR ME, I’M COMING TOO
SOMEONE BY MY SIDE EURYDICE!
I’M COMING TOO.
TURNED HIS FACE TO MINE

EURYDICE
HADES 38. YOU, THE ONE I LEFT BEHIND
EURYDICE
33. There are papers to be signed IF YOU EVER WALK THIS WAY
43. –I did / I do...
Step into my office. COME AND FIND ME
LYING IN THE BED I MADE.

FATES
44. IT AIN’T, IT AIN’T, IT AIN’T NO USE
ORPHEUS
YOU’RE BOUND, YOU’RE BOUND,
FATES 39. I SANG A SONG SO BEAUTIFUL
YOU’RE BOUND TO LOSE
34. Get on the line. THE STONES WEPT AND THEY LET ME IN
WHAT’S DONE, WHAT’S DONE, WHAT’S DONE
AND I CAN SIGN US HOME AGAIN
IS DONE...
NOTHING CHANGES ANYHOW.

ORPHEUS
HADES 45. IF IT’S TRUE WHAT THEY SAY
FATES
40. Go back to where you came from Is this how the world is?...
35. Your eyes will look like that someday.
You’re on the wrong side of the fence. BUT WHO ARE THEY TO SAY
WHAT THE TRUTH IS ANYWAY?

31
32
QUOTABLE SYNOPSIS QUOTATION CARDS
ORPHEUS
46. I BELIEVE THAT WITH EACH OTHER WE
FATES
ARE STRONGER THAN WE KNOW...
56. IF YOU TELL ‘EM NO
I BELIEVE WE’RE STRONGER THAN THEY KNOW ORPHEUS
YOU’RE A HEARTLESS MAN
I BELIEVE THAT WE ARE MANY 51. LA LA LA LA LA LA LA
AND YOU’RE GONNA HAVE A MARTYR ON
I BELIEVE THAT THEY ARE FEW...
YOUR HANDS
AND IT ISN’T FOR THE FEW TO TELL THE MANY
WHAT IS TRUE.

FATES
PERSEPHONE
57. IF YOU LET ‘EM GO
47. He loves that girl, Hades... HERMES
YOU’RE A SPINELESS KING
He has the kind of love of her 52. Where’d you get that melody?
AND YOU’RE NEVER GONNA GET ‘EM IN LINE
That you and I once had.
AGAIN

ORPHEUS HERMES
53. IT WAS LIKE YOU WERE HOLDING THE WORLD 58. Well, the good news is / He said that you can go...
PERSEPHONE WHEN YOU HELD HER There’s bad news, though... / You can walk...
LIKE YOURS WERE THE ARMS THAT THE But it won’t be like you planned.
48. I know WHOLE WORLD WAS IN He said you have to walk in front / And she has to walk in back.
But she means everything to him. AND THERE WERE NO WORDS FOR THE WAY THAT FELT And if you turn around
SO YOU OPENED YOUR MOUTH AND YOU STARTED TO SING To make sure she’s coming, too / Then she goes back to
LA LA LA LA LA LA LA Hadestown / And ain’t nothing you can do.

ORPHEUS
WORKERS
54. HE’S GROWN SO AFRAID THAT HE’LL LOSE
49. IF I RAISED MY VOICE HERMES
WHAT HE OWNS
IF I RAISED MY HEAD 59. Do you trust each other?
BUT WHAT HE DOESN’T KNOW IS THAT WHAT
COULD I CHANGE MY FATE? COULD I CHANGE Do you trust yourselves?
HE’S DEFENDING
THE WAY IT IS?
IS ALREADY GONE.

HERMES
55. Orpheus was a poor boy
HADES PERSEPHONE
But he had a gift to give
50. SING A SONG FOR ME! 60. Are we going to try again?
This poor boy brought the world
Back into tune, is what he did
 QUOTABLE SYNOPSIS QUOTATION CARDS
HERMES
66. THAT’S HOW IT GOES
HADES
DON’T ASK WHY, BROTHER, DON’T ASK HOW
61. It’s time for spring
HE COULD HAVE COME SO CLOSE
We’ll try again next fall.
THE SONG WAS WRITTEN LONG AGO
And that is how it goes.

ORPHEUS
62. WHO DO YOU THINK YOU ARE?
HERMES
WHO ARE YOU?
67. See Orpheus was a poor boy...
WHO ARE YOU TO LEAD HER?
WHO ARE YOU TO LEAD THEM?

WORKERS & EURYDICE EURYDICE

63. WE ARE ALL RIGHT HERE. 68. Anybody got a match?

ORPHEUS
64. WHY WOULD HE LET ME WIN?
WHY WOULD HE LET HER GO?...
WHERE IS SHE? WHERE IS SHE NOW?

HERMES
65. Alright...

33
 “ALL I’VE EVER KNOWN”
BY ANAÏS MITCHELL
FROM HADESTOWN
EURYDICE EURYDICE
I WAS ALONE SO LONG SUDDENLY THERE’S SUNLIGHT BRIGHT AND
I DIDN’T EVEN KNOW THAT I WAS LONELY WARM
OUT IN THE COLD SO LONG ORPHEUS
I DIDN’T EVEN KNOW THAT I WAS COLD SUDDENLY I’M HOLDING THE WORLD IN MY ARMS
TURN MY COLLAR TO THE WIND
THIS IS HOW IT’S ALWAYS BEEN -Interlude-

ALL I’VE EVER KNOWN IS HOW TO HOLD MY OWN EURYDICE

ALL I’VE EVER KNOWN IS HOW TO HOLD MY OWN SAY THAT YOU’LL HOLD ME F OREVER
BUT NOW I WANNA HOLD YOU TOO SAY THAT THE WIND WON’T CHANGE ON US
SAY THAT WE’LL STAY WITH EACH OTHER
-Interlude- AND IT WILL ALWAYS BE LIKE THIS
YOU TAKE ME IN YOUR ARMS ORPHEUS
AND SUDDENLY THERE’S SUNLIGHT ALL AROUND I’M GONNA HOLD YOU FOREVER
ME THE WIND WILL NEVER CHANGE ON US
EVERYTHING BRIGHT AND WARM LONG AS WE STAY WITH EACH OTHER
AND SHINING LIKE IT NEVER DID BEFORE
AND FOR A MOMENT I FORGET ORPHEUS & EURYDICE
JUST HOW DARK AND COLD IT GETS THEN IT WILL ALWAYS BE LIKE THIS

ALL I’VE EVER KNOWN IS HOW TO HOLD MY OWN

LL I’VE EVER KNOWN IS HOW TO HOLD MY OWN
BUT NOW I WANNA HOLD YOU
NOW I WANNA HOLD YOU
HOLD YOU CLOSE
I DON’T WANNA EVER HAVE TO LET YOU GO
NOW I WANNA HOLD YOU
HOLD YOU TIGHT
I DON’T WANNA GO BACK TO THE LONELY LIFE
ORPHEUS
I DON’T KNOW HOW OR WHY
OR WHO AM I THAT I SHOULD GET TO HOLD YOU
BUT WHEN I SAW YOU ALL ALONE AGAINST THE
SKY
IT’S LIKE I’D KNOWN YOU ALL ALONG
I KNEW YOU BEFORE WE MET
AND I DON’T EVEN KNOW YOU YET
ALL I KNOW’S YOU’RE SOMEONE I HAVE ALWAYS
KNOWN
ORPHEUS & EURYDICE
ALL I KNOW’S YOU’RE SOMEONE I HAVE ALWAYS
KNOWN
AND I DON’T EVEN KNOW YOU
NOW I WANNA HOLD YOU—HOLD YOU CLOSE
I DON’T WANNA EVER HAVE TO LET YOU GO

34
 “WAY DOWN HADESTOWN”
BY ANAÏS MITCHELL
FROM HADESTOWN
HERMES COMPANY
ON THE ROAD TO HELL, THERE WAS A RAILROAD TRACK WAY DOWN HADESTOWN WAY DOWN UNDER THE GROUND
PERSEPHONE PERSEPHONE
Oh, come on! DOWN THERE, IT’S A BUNCH OF STIFFS
HERMES BROTHER, I’LL BE BORED TO DEATH
THERE WAS A TRAIN COMIN’ UP FROM WAY DOWN BELOW GONNA HAVE TO IMPORT SOME STUFF
PERSEPHONE JUST TO ENTERTAIN MYSELF
That was not six months! GIVE ME MORPHINE IN A TIN
FATES GIVE ME A CRATE OF THE FRUIT OF THE VINE
BETTER GO AND GET YOUR SUITCASE PACKED TAKES A LOT OF MEDICINE
GUESS IT’S TIME TO GO TO MAKE IT THROUGH THE WINTERTIME
HERMES COMPANY
SHE’S GONNA RIDE THAT TRAIN WAY DOWN HADESTOWN WAY DOWN UNDER THE GROUND
COMPANY FATES
RIDE THAT TRAIN... EVERY LITTLE PENNY IN THE WISHING WELL
HERMES EVERY LITTLE NICKEL ON THE DRUM
SHE’S GONNA RIDE THAT TRAIN COMPANY
COMPANY ON THE DRUM!
RIDE THAT TRAIN... FATES
HERMES ALL THEM SHINY LITTLE HEADS AND TAILS
SHE’S GONNA RIDE THAT TRAIN ‘TIL THE END OF THE LINE WHERE DO YOU THINK THEY COME FROM?
‘CAUSE THE KING OF THE MINE IS COMING TO CALL THEY COME FROM
DID YOU EVER WONDER WHAT IT’S LIKE ON THE UNDERSIDE? COMPANY
COMPANY WAY DOWN HADESTOWN WAY DOWN UNDER THE GROUND
WAY DOWN UNDER HERMES
HERMES EVERYBODY HUNGRY EVERYBODY TIRED
ON THE YONDER SIDE? EVERYBODY SLAVES BY THE SWEAT OF HIS BROW
COMPANY THE WAGE IS NOTHING AND THE WORK IS HARD
WAY DOWN YONDER IT’S A GRAVEYARD IN HADESTOWN
HERMES COMPANY
ON THE OTHER SIDE OF HIS WALL WAY DOWN HADESTOWN WAY DOWN UNDER THE GROUND
FOLLOW THAT DOLLAR FOR A LONG WAY DOWN HERMES
FAR AWAY FROM THE POORHOUSE DOOR MR. HADES IS A MEAN OLD BOSS
YOU EITHER GET TO HELL OR TO HADESTOWN PERSEPHONE
AIN’T NO DIFFERENCE ANYMORE! WITH A SILVER WHISTLE AND A GOLDEN SCALE
WAY DOWN HADESTOWN COMPANY
WAY DOWN UNDER THE GROUND AN EYE FOR AN EYE!
HOUND DOG HOWL AND THE WHISTLE BLOW HERMES
TRAIN COME A-ROLLIN, CLICKETY-CLACK AND HE WEIGHS THE COST
EVERYBODY TRYIN’ TO GET A TICKET TO GO COMPANY
BUT THOSE WHO GO THEY DON’T COME BACK THEY GOIN’... A LIE FOR A LIE!
HERMES & COMPANY HERMES
WAY DOWN HADESTOWN WAY DOWN UNDER THE GROUND AND YOUR SOUL FOR SALE
HERMES COMPANY
Ha! SOLD!
PERSEPHONE PERSEPHONE
WINTER’S NIGH AND SUMMER’S O’ER TO THE KING ON THE CHROMIUM THRONE
HEAR THAT HIGH, LONESOME SOUND COMPANY
OF MY HUSBAND COMING FOR THROWN!
TO BRING ME HOME TO HADESTOWN PERSEPHONE
TO THE BOTTOM OF A SING SING CELL

35
 “WAY DOWN HADESTOWN” “WAY DOWN HADESTOWN”
BY ANAÏS MITCHELL BY ANAÏS MITCHELL
FROM HADESTOWN FROM HADESTOWN
HERMES HERMES
WHERE THE LITTLE WHEEL SQUEALS AND THE BIG WHEEL WHERE THE LITTLE WHEEL SQUEALS AND THE BIG WHEEL
GROANS GROANS
PERSEPHONE PERSEPHONE
AND YOU BETTER FORGET ABOUT YOUR WISHING WELL AND YOU BETTER FORGET ABOUT YOUR WISHING WELL
COMPANY COMPANY
WAY DOWN HADESTOWN WAY DOWN HADESTOWN
WAY DOWN UNDER THE GROUND WAY DOWN UNDER THE GROUND
HERMES HERMES
On the Road to Hell, there was a railroad car On the Road to Hell, there was a railroad car
And the car door opened and a man stepped out And the car door opened and a man stepped out
Everybody looked and everybody saw Everybody looked and everybody saw
It was the same man they’d been singin’ about It was the same man they’d been singin’ about
PERSEPHONE PERSEPHONE
You’re early. You’re early.
HADES HADES
I missed ya. I missed ya.
FATES FATES
MR. HADES IS A MIGHTY KING MR. HADES IS A MIGHTY KING
MUST BE MAKING SOME MIGHTY BIG DEALS MUST BE MAKING SOME MIGHTY BIG DEALS
SEEMS LIKE HE OWNS EVERYTHING SEEMS LIKE HE OWNS EVERYTHING
EURYDICE EURYDICE
KIND OF MAKES YOU WONDER HOW IT FEELS... KIND OF MAKES YOU WONDER HOW IT FEELS...
HERMES HERMES
All aboard! All aboard!
A-ONE, A-TWO A-ONE, A-TWO
A-ONE, TWO, THREE, FOUR A-ONE, TWO, THREE, FOUR
COMPANY COMPANY
WAY DOWN HADESTOWN WAY DOWN UNDER THE GROUND WAY DOWN HADESTOWN WAY DOWN UNDER THE GROUND
WAY DOWN HADESTOWN WAY DOWN UNDER THE GROUND WAY DOWN HADESTOWN WAY DOWN UNDER THE GROUND
WAY DOWN UNDER THE GROUND WAY DOWN UNDER THE WAY DOWN UNDER THE GROUND WAY DOWN UNDER THE
GROUND! GROUND!

Save a tree!
Cut into half sheets!
Thank you.

36