Hadestown: Teen Edition

A CONCORD THEATRICALS TITLE

Hadestown: Teen Edition

Full-Length Musical, Drama  /  5w, 2m, 1any gender (youth) plus ensemble

Book, Music & Lyrics by Anaïs Mitchell

Performance rights for this title are currently withdrawn in the UK and Ireland. To be informed as soon as it becomes available in the future, please sign up to be notified.

This Teen Edition of Anaïs Mitchell’s haunting, jazz-inflected folk opera follows Orpheus’ mythical quest to overcome Hades and regain the favor of his one true love, Eurydice.

Image: 2019 Broadway Production (Matthew Murphy for MurphyMade)

  • Cast Size
    Cast Size
    5w, 2m, 1any gender (youth) plus ensemble
  • Duration
    Duration
    More than 120 minutes (2 hours)
  • SubGenre
    Subgenre
    Fantasy, Adaptation (Literature), Fable/Folktale
  • Audience
    Target Audience
    Adult, Teen (Age 14-18)
Accolades
Accolades
  • Winner! Eight 2019 Tony Awards, including Best Musical, Best Score and Best Orchestrations
    Winner! Four 2019 Drama Desk Awards
    Winner! Six 2019 Outer Critics Circle Awards, including Outstanding New Broadway Musical
    Winner! 2019 Drama League Award for Outstanding Production of a Musical
    Winner! 2020 Grammy Award for Best Musical Theater Album
Hadestown: Teen Edition
Also Available

Details

Summary

Hadestown: Teen Edition is a full-length adaptation of Anaïs Mitchell’s Hadestown, modified for performance by teen actors for family audiences. The Teen Edition is only available for school and youth groups with performers 19 years old and younger.

Changes made for the Teen Edition include:

  • Adjusted vocal arrangements to better accommodate teen voices, including modified FATES features and transposed keys.
  • Original five-member WORKER chorus converted into a flexible and expandable SATB WORKER chorus.
  • Removal of stage action and language related to substance abuse and sexual references.
  • Suggested dialogue and music adjustments for productions utilizing performance tracks.
  • “Our Lady of the Underground,” “Nothing Changes” and “We Raise Our Cups” approved as optional cuts for productions utilizing tracks or requiring a shorter run time.

This intriguing and beautiful folk opera delivers a deeply resonant and defiantly hopeful theatrical experience. Following two intertwining love stories – that of young dreamers Orpheus and Eurydice, and that of immortal King Hades and lady Persephone – Hadestown invites audiences on a hell-raising journey to the underworld and back. Inspired by traditions of classic American folk music and vintage New Orleans jazz, Mitchell’s beguiling sung-through musical pits industry against nature, doubt against faith, and fear against love.

History
After its origins as a DIY community theatre project in 2006 and a studio album in 2010, Hadestown electrified audiences with its 2016 world premiere at New York Theatre Workshop, becoming the longest-running show in that celebrated theatre’s 40-year history. The production then received its Canadian premiere at Edmonton’s Citadel Theatre in 2017 and then a 2018 sold-out engagement at London’s National Theatre. Hadestown opened on Broadway at the Walter Kerr Theatre on 17 April 2019, developed with and directed by Rachel Chavkin, starring Reeve Carney, André De Shields, Amber Gray, Eva Noblezada and Patrick Page. Hadestown made its West End debut in February 2024 at the Lyric Theatre, London. Directed by Chavkin, the production featured Dónal Finn, Grace Hodgett Young, Zachary James, Melanie La Barrie and Gloria Onitiri.

ORPHEUS – Lyre-playing poet, gifted and naïve  (Tenor with strong falsetto, range: D3-C5 (opt. Eb5))
EURYDICE – A runaway, tough and vulnerable  (Mezzo-Soprano, range: F#3-D5)
HADES – Compulsive industrialist, boss-king of Hadestown  (Bass, range: F2-C#4)
PERSEPHONE – Queen of nature and the seasons, a lush  (Mezzo-Soprano/Alto, range: F3-C5)
HERMES – Charismatic guide and storyteller, mentor to Orpheus  (Tenor/Bass, range: C3-B4)
FATES – Three sisters, vicious and delicious, voices in the head  (Soprano, Mezzo-Soprano, Alto, range E3-D5 (Fate 1 up to Eb5))
WORKERS – Spirits of labor and community, a physical and choral presence  (SATB)

AUTHOR'S NOTE:
BAND – The onstage BAND, while not listed with the characters above, is an omnipresence in Hadestown, and may join in the singing at times. For licensees using performance tracks, we’ve provided suggested workarounds for “Road to Hell” and “Our Lady of the Underground” (two numbers in which the BAND is directly introduced).
WORKERS – In the Broadway production, the WORKERS were performed by five ensemble members. While the WORKERS to accommodate any cast size, a minimum of six WORKERS is required. Vocal arrangements for Hadestown: Teen Edition have been tailored for teen voices. Musical adjustments include transposed keys for some cues, and SATB arrangements for the WORKERS and some COMPANY moments. WORKERS can be played by actors of any gender. Whenever the WORKERS sing in chorus, the FATES are welcome to join as choral support. In those instances, in order to maintain their distinct narratives/identities, the FATES may be physically present but shoud not be featured visually.
HERMES – The character of HERMES has been played on Broadway by both male- and female-identifying performers. In the latter case, whenever HERMES is referred to as “Mister Hermes,” performers should use “Missus Hermes.” If that phrase ever appears in print materials, please avoid the spelling “Mrs.” There is no alternate vocal score, but every HERMES should feel free to place lines or verses in a different octave if it feels or sounds better. On the West End we have implemented nonbinary language for HERMES. When HERMES introduces themselves in “Road to Hell,” they say: “And a god with feathers on their feet” and “Yes, it’s Hermes, that's me!” When ORPHEUS addresses HERMES in “Wait For Me (Intro)” and its reprise, he says: “Scuse me, Hermes?” And in “Come Home With Me (Reprise)” ORPHEUS says: “It was Hermes told me so.”

Along those lines, we are still discovering ways in which the casting of Hadestown can become more diverse, and your production will be part of that discovery! These mythic characters are archetypal but also reimagined and open to interpretation by actors of all gender identities. It has felt important to us both to reflect the diversity of the community in which the story is presented and to be mindful of the narrative implications of those choices. For any questions regarding casting, please contact your Concord Theatricals Licensing Representative.

Casting Note: The character of HERMES has been played on Broadway by both male- and female-identifying performers. In the latter case, whenever HERMES is referred to as “Mister Hermes,” performers should use “Missus Hermes.” If that phrase ever appears in print materials, please avoid the spelling “Mrs.” There is no alternate vocal score, but every HERMES should feel free to place lines or verses in a different octave if it feels or sounds better.

Along those lines, we are still discovering ways in which the casting of Hadestown can become more diverse, and your production will be part of that discovery! These mythic characters are archetypal but also reimagined and open to interpretation by actors of all gender identities. It has felt important to us both to reflect the diversity of the community in which the story is presented and to be mindful of the narrative implications of those choices. For any questions regarding casting, please contact your Concord Theatricals Licensing Representative.

  • Setting The underworld (Hadestown) and aboveground.
  • Features Contemporary Costumes/Street Clothes, Fantasy Costumes
  • Duration More than 120 minutes (2 hours)

Media

“Achingly beautiful, thought-provoking, powerful and prophetic.” – Newsday

“Sumptuous... Gorgeous... As good as it gets... You wish you could live in the glowy moment forever.” – The New York Times

“Utterly fabulous... arrives on Broadway with a furnace-like blast of creativity.” – The Hollywood Reporter

“A transporting musical hit... Anaïs Mitchell’s score is a joyful combination of folk, pop, Dixieland and blues that will make you want to rehear it as soon as the lights come up.” – Time Out

“Unforgettable. Simply one of the most exquisite works of musical storytelling I’ve seen in my more than 25 years as a theater critic. In its supple convergence of story and song, Hadestown represents a step forward for the art form.” – Los Angeles Times

“Visionary and ravishing. An intricate and gorgeous feat of songwriting, a vehicle for dynamite performances and a courageous experiment with form, Hadestown is cause for celebration.” – New York Magazine

“Heavenly. Haunting. Exquisite.” – WNYC

“The songs are gorgeous, the band is hot, and the lyrics are eerily apt for the times.” – The New Yorker

Hadestown feels like something more intuitive, elemental, and finely woven than a traditional musical.” – The Guardian

ON BREAKING CHARACTER

Way Down Hadestown: The Characters From Myth to Musical
Meredith Foster
28 May 2024

Videos

  • Hadestown – Come See How The World Could Be youtube thumbnail

    Hadestown – Come See How The World Could Be

  • Hadestown Broadway Cast on Good Morning, America youtube thumbnail

    Hadestown Broadway Cast on Good Morning, America

  • “All I’ve Ever Known” Music Video youtube thumbnail

    “All I’ve Ever Known” Music Video

  • Hadestown: The Creative Process youtube thumbnail

    Hadestown: The Creative Process

  • “When The Chips Are Down” Music Video youtube thumbnail

    “When The Chips Are Down” Music Video

  • From Hadestown, With Love youtube thumbnail

    From Hadestown, With Love

Show more +

Music

Act I

1. “Road to Hell” – Hermes and Company
2. “Any Way the Wind Blows” – Eurydice, Hermes, Fates and Sopr./Alto Workers
3. “Come Home with Me” – Orpheus, Eurydice, Hermes and Workers
4. “Wedding Song” – Orpheus, Eurydice and Workers
5. “Epic I” – Orpheus and Hermes
6. “Livin' It Up on Top” – Persephone, Hermes, Orpheus, Eurydice and Workers
7. “All I've Ever Known” – Eurydice, Orpheus and Hermes
8. “Way Down Hadestown” – Hermes, Persephone, Hades, Eurydice, Fates and Workers
9. “A Gathering Storm” – Hermes, Orpheus, Eurydice, Fates and Sopr./Alto Workers
10. “Epic II” – Orpheus and Workers
11. “Chant” – Company
12. “Hey, Little Songbird” – Hades and Eurydice
13. “When the Chips Are Down” – Fates, Hermes, Eurydice and Hades
14. “Gone, I'm Gone” – Eurydice, Hermes and Fates
15. “Wait For Me (Intro)” – Orpheus and Hermes
16. “Wait For Me” – Orpheus, Hermes, Fates and Workers
17. “Why We Build the Wall” – Hades, Persephone, Hermes, Eurydice, Fates and Workers

Act II

18. “Our Lady of the Underground (An Optional Entr'acte)” – Persephone, Hermes and Band
19. “Way Down Hadestown (Reprise)” – Hermes, Fates, Eurydice and Workers
20. “Flowers” – Eurydice
21. “Come Home with Me (Reprise)” – Orpheus and Eurydice
22. “Papers (Intro)” – Hades, Persephone, Hermes, Eurydice and Orpheus
22a. Papers Instrumental – Band
23. “Nothing Changes” (An Optional A Capella Segue) – Fates
24. “If It's True” – Orpheus, Hermes and Workers
25. “How Long?” – Persephone and Hades
26. “Chant (Reprise)” – Hermes, Hades, Orpheus, Eurydice, Fates and Workers
27. “Epic III” – Orpheus and Company
28. “Epic III (Instrumental)” – Hermes, Orpheus and optional Workers
29. “Promises” – Eurydice, Orpheus and Workers
30. “Word to the Wise” – Fates, Hermes, Orpheus and Hades
31. “His Kiss, The Riot” – Hades
32. “Wait for Me (Reprise) - Intro” – Eurydice, Orpheus, Hermes and Workers
33. “Wait for Me (Reprise)” – Company
34. “Doubt Comes In” – Orpheus, Eurydice, Fates and Workers
35. “Road to Hell (Reprise)” – Hermes, Eurydice, Persephone, Hades, Fates and Workers
36. “We Raise Our Cups (An Optional Encore)” – Persephone, Eurydice, Hermes, Hades, Fates and Workers
37. Exit Music – Band
In the Broadway production of Hadestown, Orpheus and the three Fates were performed as actor-muso ("Actor-Musician") roles. Licensees should utilize the following scores for those onstage instrumental parts:

1   Orpheus Score – Guitar
3   Fates Score – Violin, Accordion & Percussion (Finger Cym. & Tambourine)

The band instrumentation is as follows:

1   Trombone – doubling Glockenspiel
1   Drums – Drum Set, Pandiero, Wood Block, sm. Bell or Triangle, Sus. Cym., Crash Cym., Surdo, Tambourine, Cowbell, Crasher, Splash Cym., Shaker, Metal Shaker, Morfbeats, clangy metal, Bells, Waterphone, Bowed Cym. & Crotale (C)
1   Keyboard-Conductor (performance) – doubling Accordion
1   Guitar
1   Violin
1   Cello
1   Bass
  • Musical Style Pop/Rock, Jazz, Folk, Contemporary Broadway
  • Dance Requirements Easy
  • Vocal DemandsModerate
  • Orchestra Size Medium
  • Chorus Size Small

Licensing & Materials

  • Licensing fees and rental materials quoted upon application.

Music Rentals

Concord offers a full suite of resources to help you put on the show of a lifetime!
1   Orpheus Book – Vocal Book and Guitar Score (optional)
3   Fates Books – Vocal Book and Fates Score (optional – Violin, Accordion & Percussion (Finger Cym. & Tambourine))
10   Vocal Books – Vocal Book for all other performers
1   Piano-Vocal (rehearsal)

1   Trombone – doubling Glockenspiel
1   Drums – Drum Set, Pandiero, Wood Block, sm. Bell or Triangle, Sus. Cym., Crash Cym., Surdo, Tambourine, Cowbell, Crasher, Splash Cym., Shaker, Metal Shaker, Morfbeats, clangy metal, Bells, Waterphone, Bowed Cym. & Crotale (C)
1   Keyboard-Conductor (performance) – doubling Accordion
1   Guitar
1   Violin
1   Cello
1   Bass

Digital Rental Package
Logo pack (use is mandatory)
Actor-muso sheet music (optional)
Performance Tracks (delivered by Right On Cue Services)

Scripts

Available Formats:

Add-Ons

Take a look below at how you can enhance your show!

Authors

Anaïs Mitchell

Anaïs Mitchell is a Vermont-based singer-songwriter and the Tony and Grammy award-winning creator of the Broadway musical Hadestown, for which she wrote book, music and lyrics. Hadestown won eight Tony Awards overall, including Best Musical, as well as the Grammy for Best Mus ...

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