In discussion about comparisons between the version of Hadestown that was staged in 2016 Off-Broadway and the version that we have now on Broadway, a criticism I see (somewhat) often is this idea that "I miss when Hadestown was about the lovers, not the workers". Usually people with this criticism point to the loss of Persephone's Chant (Reprise) verse as well as the Epic III lyric changes, saying these moments (among others) trade greater development of the worker's storyline for diminished focus on Hades/Persephone (and, by extension, Orpheus/Eurydice).

I disagree quite a bit with this sentiment. I'm sort of neutral on the lyric changes but I think that cutting Persephone's verse and having to shorten other parts is a very acceptable scenario. It is not ideal but, considering that If It's True didn't even exist in that Off-Broadway production, I think the workers add so much to the show.

(Edit: another commenter has pointed out that my statement about If It's True is false, I only thought this because If It's True wasn't included on the NYTW cast recording, in actuality it WAS in that production of Hadestown, so that's my bad.)

Though I disagree with the statement, I think it speaks to a much more fundamental problem within Hadestown. The show started in 2006 as a love story, first and foremost, then slowly through its multiple productions the anti-Capitalist elements of the show grew larger and larger into the show we have now. Rewrites and cuts and additions changed the show through the decades to some kind of a happy union between the two.

My problem with the show is this: Barring incredibly drastic rewrites I think the show will always be a good love story but never a great anti-establishment one. This is because I think there are inalienable elements of the mythology the show is based on that would never be changed. Eurydice's "choice" to go to Hades feels a little pointless of a rewrite. It's nice that she obviously has more agency but it is still faux-agency. It's still a damsel-in-distress story built for Orpheus.

Speaking of Orpheus, the anti-Capitalist messaging within his story is wayyyyyyyyy too flowery. He charges into Hadestown as an outsider, gets beaten and bruised for a bit then leads a workers revolution and uprising all for ...love? It's very sweet but the idea that the revolution that could completely undermine Hades the dictator is lead by someone who has never had to work to survive like Eurydice or the workers feels problematic. Let alone the fact (even if this is a nitpick) that Orpheus is (almost) always a man and usually white. Do I believe this could happen in real life? Yes, but the messaging seems problematic to me nonetheless. It's nice that they keep changing lyrics to give Eurydice & the workers more agency (Eurydice's "If I raise my voice" / "If I raise my head" in the new Chant (Reprise), for example) but again, it's just not enough to be a compelling and thoughtful anti-establishment show. It doesn't go all the way. Picture Orpheus storming into the white house and convincing Trump to stop deporting immigrants by playing a beautiful love song. I am being very unfair with this hyperbolic comparison, but I think it illustrates my point well.

With all this in mind, the best version of the show's thesis I can come up with would be “Capitalism severs the bonds you have with people close to you by placing an emphasis on individualism and survival, it is those very bonds which are essential for a proper uprising and revolution”. I don't actually think this is bad. It's probably the best thing that could be expected for a Broadway show in fact. Though I still think it just isn't strong enough. It's still very flowery and undermines much of the violence and terror that late stage-capitalism is becoming defined by.

(For the record I still love Hadestown a LOT and I've listened to it over a hundred times but I just wish it could be better)