Anaïs Mitchell’s *Hadestown*, now at the Broadhurst Theatre, retells the Orpheus and Eurydice myth inside an underworld shaped like an industrial worksite. Eurydice, short on food and shelter, signs on for security below, and Orpheus follows, trying to bargain with song. The show arrived on Broadway in 2019 after earlier runs, joining New York’s long tradition of reworking classical stories for modern labor and climate anxieties. Its clearest insight is how economic pressure can function like fate, narrowing every choice.
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