A journey to the underworld and back takes center stage in Scottsdale next month as Greasepaint Youtheatre presents the critically acclaimed musical \u201cHadestown.\u201d<\/p>\n
Running May 1\u201310, the production brings a defiant and hopeful theatrical experience with a powerhouse cast of local teen talent.<\/p>\n
\u201cHadestown\u201d showcases an elite group of performers selected from a highly competitive pool of more than 100 youth who auditioned from across the Valley. The final company consists of 24 performers, representing some of the best in high school theater today.<\/p>\n
Among the standout cast are six Scottsdale residents. Hallie Merrill takes on the regal and complex role of Persephone, the goddess of spring. Joining the ensemble as the backbone of the underworld are Claire Filipowicz, River Knight, Sophie Messinger and Mateo Vap Fredson, all appearing as Workers, while Taylor Hayden helps weave the threads of destiny as Fate #1.<\/p>\n
The company takes on a narrative that has reached massive acclaim worldwide since its debut. Written by Anais Mitchell, \u201cHadestown\u201d is a sung-through folk opera that intertwines two ancient Greek myths: the tragic romance of young dreamers Orpheus and Eurydice, and the volatile relationship between King Hades and his wife, Persephone. T<\/p>\n
he story follows Orpheus on a harrowing quest to rescue his lover from the industrial gloom of \u201cHadestown.\u201d Inspired by traditions of classic American folk music and vintage New Orleans jazz, the beguiling musical pits industry against nature, doubt against faith, and fear against love.<\/p>\n
Director Bob Sorenson said the story\u2019s depth resonated with the cast.<\/p>\n
\u201c\u2018Hadestown\u2019 is a masterpiece of storytelling because it doesn\u2019t shy away from the darkness,\u201d Sorenson said. \u201cIt\u2019s a story about the world we dream of versus the world we live in. Seeing these young performers tackle such mature, poetic material with this level of intensity is exactly why youth theater is so vital right now.\u201d<\/p>\n
Sorenson added that the energy behind the scenes has been palpable throughout rehearsals.<\/p>\n
\u201cGetting to work at Greasepaint is always a joy, but there is something magical about this show and this group,\u201d he said. \u201cThe goosebumps started early on this one, so look out.\u201d<\/p>\n
One of the most distinctive technical elements of the Greasepaint production is the inclusion of a seven-member band that will remain on stage throughout the performance. Live instrumentation was a deliberate choice to honor the show\u2019s roots and elevate the energy of the room.<\/p>\n
\u201cMusic directing this show has always been a dream; the ensemble and leads are beautifully woven together to tell the tale again and again,\u201d said Stefan Mladenov, music director. \u201cThe material also lends itself beautifully to the magic of live music, which, as an instrumentalist, is a joy.\u201d<\/p>\n
Mladenov\u2019s focus on the live score highlights why the musical has earned such significant critical recognition.<\/p>\n
Set designer\u00a0Jonathan Rooney said the set design was heavily influenced by the eclectic nature of the music.<\/p>\n
\u201cBob and I had talked early on about how the show\u2019s score mixes some very jazzy, swing-era moments with a general folk, Americana musical language, and we decided to root that music in its era: the opulence of the 1920s, when art deco was at its peak, and the Great Depression that followed,\u201d Rooney said.<\/p>\n
\u201cWe knew we wanted the band visible onstage, so the natural place to go was a 1920s club that has been intruded upon by the heavy stone-and-steel construction of the Works Progress Administration. The central design element is really the arch, the ever-present ‘door to hell,’ as these characters are carving out an existence in this once-grand setting, but always with that threat looming over them.\u201d<\/p>\n
Rooney also noted that the staging required specific mechanical movement to capture the story’s emotional climax.<\/p>\n
\u201cWe decided that Orpheus and Eurydice\u2019s climactic walk out of hell works best if we can keep the characters in focus while they\u2019re walking\u2014and a revolve is really the best way to create that stage picture,\u201d Rooney explained.<\/p>\n
\u201cSo, once we established that a revolve was in the realm of possibility, it was almost a no-brainer to include it, as it gives so many opportunities for interesting staging and a sense of dynamism to the show\u2019s world.\u201d<\/p>\n
Maureen Dias-Watson, artistic director of Greasepaint Youtheatre, noted that the high school shows often carry an emotional weight.<\/p>\n
\u201cI love all of the shows we do here, but the high school shows, by definition, always have kids who grew up here and are moving onto college, so they tend to be bittersweet and my favorite shows,\u201d Dias-Watson said. \u201cBetween the incredible talent of this creative staff, the addition of live music, and seeing Claire Filipowicz and Olivia Feldman perform in their final Greasepaint show\u2014it is going to be a production everyone will remember.\u201d<\/p>\n