"Hadestown" spent more than a decade in development hell, surviving largely on the belief in alt-folk artist Anaïs Mitchell's songs.
By the time it picked up a Tony for best musical, best original score, best direction of a musical and five other awards in 2019 and kicked off a national tour last year, theater lovers were heralding it as a can't-miss dance party. The musical begins its six-day run Tuesday at Minneapolis' Orpheum Theatre.
Choreographer David Neumann has received rave reviews for allowing the performers to break a lot of Broadway rules in this retelling of a classic Greek myth of Eurydice and Orpheus.
"I think you'll find this is not your typical jazz-hands musical," said co-producer Jennifer Melin Miller, who grew up in Eagan. She created the Twin Cities-based Stone Arch Theatricals, a vehicle that supports Broadway ventures and in part bankrolled "Hadestown."
Miller isn't the only Minnesotan who has played a key role in "Hadestown's" success.
So did associate choreographer Katie Rose McLaughlin. She grew up in the Minneapolis suburbs, studying under local ballet teacher Bonnie Mathis and getting stage experience at Theatre de la Jeune Lune.
McLaughlin, who will be returning to the Twin Cities to see the production on her home turf, spoke earlier this month by phone from New York:
Q: This touring show has had a lot of stops and starts when the pandemic hit. How hard was it to shake off the rustiness?
A: I didn't experience any rustiness. There was a lot of excitement and great relief in being able to be back in person and share space with other humans who have gone though the same thing. It was good for the soul. Everyone involved kept moving during the pandemic, doing whatever they could in their living rooms, basements and backyards.
