Hadestown Heads South: Broadway’s Tony-Winning Magic Comes to Orlando

Hop on the one-way train to the underworld—“Hadestown” is back, fresh from winning eight Tony Awards in 2019, including Best Musical, and now lighting up the Dr. Phillips Center.

Anaïs Mitchell’s music and lyrics drive the show, but it’s the full company that transforms this myth into something raw and real. Under Keenan Tyler Oliphant’s direction, the cast digs deep, letting us ache for the world we dream about while reminding us to care for the one right in front of us.

The story’s familiar—Orpheus and Eurydice, love and loss—but it doesn’t feel tired. “Hadestown” first hit Broadway in 2019, and it’s still fiercely relevant. Sure, Greek mythology buffs will catch all the clever layers, but you don’t need to brush up on your classics. The show’s score and story pull you in right away, and the program gives you just enough background to get your bearings. There are nods to climate change and unrest, but at its heart, this is about two lovers and the way old stories still shine a light on what it means to be human.

Hermes, the narrator and host, is played by Jaylon C. Crump, and he’s a force. He moves with purpose, lands every line, and makes you feel like you’re in good hands. The crowd was with him from the first moment, and he kept everyone locked in until the end.

Bryan Munar’s Orpheus is all heart and hope, while the incredible Megan Colton’s Eurydice has a sharp edge—tough, restless, hungry for more. They play off each other beautifully. Munar’s vocals glide effortlessly, and Colton’s voice breaks out of the ingenue mold—gritty, expressive, unmistakably hers. Their chemistry is electric, and you feel every beat of their relationship, even as the cracks start to show. Orpheus gets lost in his quest to finish the song that’ll heal the world, missing the urgency in Eurydice’s struggle.

The Fates are more than just backup—they’re a triple threat, blending vocals, movement, and even instruments. Their faces tell stories all on their own. They move as one, but each has her own secrets, her own angle. They keep the plot twisting, always on the edge between helping and hindering, and they capture that messy, unpredictable space between gods and mortals that’s at the core of Greek myth.

Then there’s Hades. Nickolaus Colón delivers a powerhouse performance—his voice is deep, commanding, but with just enough uncertainty to keep you guessing. Namisa MdLalose Bizana’s Persephone lights up the stage. She’s vibrant and complicated, the link between the worlds above and below. Her love for Hades is intense, shadowed by grief and the weight of her captivity. She swings from big, joyful numbers to aching, intimate moments, making Persephone utterly magnetic. Together, they’re a striking contrast to Orpheus and Eurydice, and their own vulnerability to the Fates proves that even gods aren’t immune to fate or choice.

The Workers’ Chorus grounds the story—they’re the pulse of the underworld, the ones who feel every shift in fortune. They celebrate when love blooms or Persephone brings spring, and they suffer under Hades’ tightening grip.

As a unit, the ensemble is fierce. Their vocals are layered and soulful, and their grit shines through every number. The timing of the train-whistle effects is spot-on, and when the stage falls silent, you know it’s on purpose. The choreography, thanks to T. Oliver Reid, speaks as loudly as the music, turning movement into its own kind of storytelling. Honestly, this cast could tell the whole tale without a single word and you’d still feel every emotion.

The onstage orchestra isn’t just background—they’re part of the action, weaving blues, jazz, folk, and rock into the bones of the show. Their presence makes the music feel alive, like another set of characters watching and reacting to every twist in the myth.

On opening night, the crowd leapt to their feet and just wouldn’t quit applauding. Eventually, Hermes had to step out and calm everyone down so the cast could sing their final number.

Back in ancient times, people used to offer sacrifices to the gods. “Hadestown” feels like our own kind of offering—a story we need to keep telling, a song we don’t get tired of. It’s a reminder to hang on to hope, even when things get bleak. If you pay attention, there’s always some light sneaking in, pushing change to happen. The show’s in town for just a few days. Don’t miss your chance.

Running Time: Approximately two hours and 30 minutes with a 15-minute intermission.

Now playing at Dr. Phillips Center Nov. 28-30, 2025

Walt Disney Theater

445 South Magnolia Avenue Orlando, FL 3280

For information drphillipscenter.org or call 407.358.6603

Photos courtesy of Evan Zimmerman by MurphyMade, Dr. Phillips Center