Hadestown: Teen Edition
by Anaïs Mitchell

Name: Hadestown: Teen Edition
Brand: Anaïs Mitchell
SKU: 9780573710841
Rating: 4.72 (29 reviews)

Broadway West End

Hadestown: Teen Edition Book Cover — Hadestown: Teen Edition Cover

Highlights

Female

Male

120 mins Expandable Casting Unit Set/Multiple Settings Contemporary Costumes/Street Clothes

Awards & Recognition

Drama Desk Award Drama League Award Grammy Award Outer Critics Circle Tony Award

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

Synopsis

Please note: This is a high-demand title currently only available to K-12 accredited schools and youth groups (with performers age 19 years old or younger) in North America, and it may not yet be available in your area.

If you are approved, you may be subject to announcement and advertising restrictions.

Our team will review each license request as quickly as possible.

We appreciate your patience throughout the process.

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.

Press Reviews

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

"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

Characters

Character	Gender	Age	Description
ORPHEUS D3-C5 (opt. Eb5 Lyre-playing poet, gifted and naïve (Tenor with strong falsetto, range: D3-C5 (opt. Eb5))	—	—	Lyre-playing poet, gifted and naïve (Tenor with strong falsetto, range: D3-C5 (opt. Eb5))
EURYDICE F#3-D5 A runaway, tough and vulnerable (Mezzo-Soprano, range: F#3-D5)	—	—	A runaway, tough and vulnerable (Mezzo-Soprano, range: F#3-D5)
HADES F2-C#4 Compulsive industrialist, boss-king of Hadestown (Bass, range: F2-C#4)	—	—	Compulsive industrialist, boss-king of Hadestown (Bass, range: F2-C#4)
PERSEPHONE F3-C5 Queen of nature and the seasons, a lush (Mezzo-Soprano/Alto, range: F3-C5)	—	—	Queen of nature and the seasons, a lush (Mezzo-Soprano/Alto, range: F3-C5)
HERMES C3-B4 Charismatic guide and storyteller, mentor to Orpheus (Tenor/Bass, range: C3-B4)	—	—	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))	female	—	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:	—	—	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).	—	—	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.	male	—	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.”	female	—	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.”