Hadestown's New Cast, Live In The Greene Space

Summary

Podcast Summary: All Of It – Hadestown's New Cast, Live In The Greene Space

Podcast: All Of It (WNYC)
Host: Alison Stewart
Date: October 30, 2025
Episode Theme:
A vibrant, music-filled exploration of Broadway's Hadestown, featuring debut performances and in-depth conversations with the new all-principals cast, musical director, and band—broadcast live from WNYC’s The Greene Space. The episode highlights the show's evolution, cast experiences, and the creative synergy between jazz, opera, and musical theatre.

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Main Theme & Purpose

This episode celebrates Hadestown’s brand-new cast, performing and discussing the iconic Tony Award-winning musical. Host Alison Stewart brings listeners into a live studio setting to experience performances, candid discussions about stepping into legendary roles, and insights into musical adaptation, collaboration, and the emotional core of the show.

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Key Discussion Points & Insights

1. Live Performances & Musical Introductions

[03:02–14:00]

• Opening Performance: "Road to Hell"
  The show opens with Kurt Elling (Hermes) and the band performing "Road to Hell," setting the mythic, soulful tone.
• Introduction of the principal cast:
  • Paulo Szot (Hades)
  • Rebecca Naomi Jones (Persephone)
  • Morgan Dudley (Eurydice)
  • Jack Wolfe (Orpheus)
  • Musical Director: Liam Robinson

Notable Quote:

“Once upon a time there was a railroad line. Don't ask where, brother, don't ask. It was the road to hell.”—Kurt Elling (Hermes) [03:02]

2. Jazz Roots Meet Broadway: Kurt Elling as Hermes

[08:13–14:46]

• Kurt Elling discusses his Broadway debut:
  Elling shares the challenge and excitement of pivoting from his Grammy-winning jazz career to theater, especially adapting to the musical’s vocal demands.
• On adapting his singing style for Hermes:

  "I have to sing higher than I would like...It's not the kind of blowing space that I'm used to, but that's not really important." [09:07]

• On the meta-narrative of Hermes:

  “It's such a meta role. There are so many layers of consciousness that I get to try to inhabit. I get to tell the story to the audience…sometimes I'm sort of trying to maneuver things [...] and then, of course, there's my own consciousness as a person telling this story to this audience on this day.” [11:28]

• No advice from previous Hermeses:

  “I did ask around, and I did solicit advice, and I didn't get any back.” [13:06]

3. Musical Direction & Band Chemistry

[09:54–11:22]

• Liam Robinson introduces the band and talks about arranging:
  Reflects on working with musicians since the show’s early off-Broadway days and the honor of arranging Anaïs Mitchell’s music for voices:

  "I arranged for the voices in this show...one of my great pleasures is arranging for the many beautiful voices that come through our building." [10:08]

4. Character Deep Dives: Orpheus & Eurydice

[18:00–21:16]

• Morgan Dudley discusses Eurydice’s motivations:

  “The whole point of her running away is just kind of moving around to survive...When she meets Orpheus, it's the first time that she's realized that she's missing something in her soul.” [18:22]

• Jack Wolfe on playing an unlikely hero:

  “…Orpheus being just a sort of everyman…He’s like a vessel to something that’s much bigger than him…when this sort of poetry comes to him, it isn’t necessarily something that he’s very confident in sharing, but it’s…something that he feels like he should.” [19:04]

• “Wedding Song” performance underscores the cosmic connection of the leads.

5. From Listener to Star: Cast Members’ First Encounter with Hadestown

[21:16–22:49]

• Morgan Dudley recounts seeing the musical and becoming obsessed:

  “Hadestown was one of the first shows that I bought tickets for myself to see. And I was absolutely obsessed...” [21:31]

• Jack Wolfe details his admiration for Anaïs Mitchell and the tradition of musicians involved with the show.

6. Transatlantic Perspectives: West End vs. Broadway

[22:49–23:25]

• Jack Wolfe contrasts New York's audience energy with London’s, noting:

  “In London, you never really know if they're on your side until the end, whereas here, it feels like a real sort of family thing.” [22:49]

7. Approaching Iconic Roles: Process & Self-Trust

[23:25–25:42]

• Morgan Dudley on “inheriting” a role:

  “I like to try and, like, meditate and clear my mind of whatever preconceived notion…just try to really live the text and the language and the words." [23:38]

• Jack Wolfe’s reflection on creating a fresh take amid potential imposter syndrome:

  “…learning to be confident in your portrayal of something is definitely a journey.” [25:27]

8. Explaining the Songs: Context and Emotion

[26:03–26:55]

• “Epic” set up as Orpheus’s first real test of sharing his poetic gift.

  “It's like the first time that you're put on the spot to use Orpheus's gifts…” —Morgan Dudley [26:16]

9. Hades & Persephone: Duets and Dynamics

[32:09–42:02]

• Performance of “Hey, Little Songbird” by Paulo Szot and Morgan Dudley.
• Paulo Szot on Hades’ motives:

  “He sees on the edge of suffering in her own life and decides to get there and to…give her a little push.” [35:59]

• Rebecca Naomi Jones on Persephone:

  “I think Persephone loves Hades, but she lives in the natural world and she lives for the natural world…when she sees what Hades has created…more construction and artificial light…it feels to her like an assault of the natural world.” [36:56]

• On balancing opera and Broadway:
  Paulo Szot says the big difference is, “eight shows a week…that was the biggest challenge for me when I first had my first musical.” [38:33]

10. Text, Verse, and Theatrical Choices

[39:52–40:55]

• Rebecca Naomi Jones on the layered, poetic writing:

  “Text is exciting and I think there's always more to be harvested than we think at first glance…Anaïs did a beautiful job layering a lot of information into these songs.” [39:52]

• On playing Persephone: “I do like to go big and get weird...I get to, like, shake myself and try to box the demons away.” [40:51]

11. Personal Connections to Roles

[42:02–43:38]

• Paulo Szot:

  “When I first saw the musical, I was in love with the music. You know, I left the show thinking the music is the star of this show.” [42:09]

• Rebecca Naomi Jones on why Persephone:

  “I really love being a part of something that is about trying to have hope and trying to connect with each other amidst chaos in the world.” [43:38]

12. Final Performance: Persephone's Rebellion

[44:19–50:08]

• Setup and performance of Persephone’s Act 2 opener:

  “It’s kind of like her rebellious moment…she’s kind of just splattering [her darkness] all over the place.” —Rebecca Naomi Jones [44:21]

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Notable Quotes & Memorable Moments

• Kurt Elling (Hermes):
  “I've been 30 years on the road as a jazz musician...and now I get to have this adventure.” [08:29]

• Morgan Dudley (Eurydice):
  “When she meets Orpheus, it's the first time that she's realized she's missing something in her soul.” [18:22]

• Jack Wolfe (Orpheus):
  “He’s like a vessel to something that's much bigger than him...” [19:04]

• Rebecca Naomi Jones (Persephone):
  “I do like to go big and get weird...a full exorcism on stage.” [40:51]

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Important Segment Timestamps

• Introduction & Cast Welcome: [01:09-03:02]
• "Road to Hell" Live Performance: [03:02–08:13]
• Kurt Elling on Adapting to Theater: [08:13–09:52]
• Musical Direction, Band Intro: [09:54–11:22]
• On Playing Hermes: [11:28–14:46]
• "Wedding Song" Live Performance: [15:44–18:00]
• Exploration of Orpheus & Eurydice: [18:00–21:16]
• First Encounters with Hadestown: [21:16-22:49]
• London vs NY Audiences: [22:49–23:25]
• Stepping Into Iconic Roles: [23:25–25:42]
• Setting Up “Epic”: [26:03–26:55]
• "Epic" Performance: [27:10–30:38]
• Hades & Persephone Songbird Duet: [32:09–35:31]
• Insight on Persephone & Marriage With Hades: [35:59–38:15]
• Opera vs. Broadway Vibe: [38:15–39:42]
• Character Choices & Motivation: [39:52–43:38]
• Setting Up Act 2 Opener & Performance: [44:19–50:08]
• Final Thank Yous and Band Acknowledgment: [50:43–51:10]

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Conclusion

This special All Of It episode is a rich, layered hour that bridges classic myth, musical innovation, and fresh theatrical perspectives—all brought to life by the new Hadestown cast. The audience is treated to live renditions of signature songs, personal anecdotes about the demands and rewards of the roles, and an infectious sense of ensemble camaraderie. Both long-time fans and newcomers to Hadestown will find the episode a rewarding behind-the-scenes tour of the show’s heart and artistry.

Transcript

[Announcer]

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[Morgan Dudley (Eurydice)]

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[Announcer]

We know because Multicare has been here.

[Morgan Dudley (Eurydice)]

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[Announcer]

With local communities to grow programs and.

[Morgan Dudley (Eurydice)]

Services and expanding healthcare access to those who need it most.

[Announcer]

Together, we're building a healthier future. Learn [e-mail].

[Alison Stewart]

This is all of It on WNYC. I'm Alison Stewart. We are live from the green space in Soho with a special episode of all of it for you today. It's Broadway on the Radio. For the next hour we'll be joined by the cast on of the Tony Award winning Broadway show Hadestown that you're going to hear live music from right here in WNYC's green space. I have the whole band with me right now. Let's hear it for the band. If you're not here with us in person and you want to see them all, go to wnyc.org where you can watch a flash live stream of today's live broadcast. Now today's show is a special occasion for Hadestown. Last month, for the first time since the show production opened in 2019, Hadestown launched an all new cast for all five principal roles. So here with me today, let me introduce you to Paolo Schott as Hades. Rebecca Naomi Jones as Persephone. Morgan Dudley as Eurydice. Jack Wolf as Orpheus. And of course our conductor on this trip down to Hadestown. Here to kick things off with a performance of Road to Hell. Please welcome Kurt Elling as Ermes.

[Audience Member / Interjection]

All right, all right, all right.

[Kurt Elling (Hermes)]

Aight.

[Alison Stewart]

Aye.

[Narrator / Hermes' storytelling voice]

Once upon a time there was a railroad line. Don't ask where brother, don't ask. It was the road to hell. It was hard times.

[Kurt Elling (Hermes)]

It was a world of God.

[Alison Stewart]

Amen.

[Narrator / Hermes' storytelling voice]

It's Old Town. It's Old Town from way back when It's Old Town we gonna sing it again. Gods and men.

[Audience Member / Interjection]

All right.

[Narrator / Hermes' storytelling voice]

We got some gods in the house tonight. See on the road to hill there was a railroad line. There was three old women all dressed the same and they was always Singing in the back of the old Everybody meet the face. And on the road to hill There was a railroad line. And a lady stepping off a train. With a suitcase full of summertime Persephone funny. And if you ride that train, ride that train. If you ride that train, ride that train. If you ride that train. To the end of the line.

[Alison Stewart]

Night.

[Narrator / Hermes' storytelling voice]

When the sun don't shine. And it's always sh. It's a fine king of the mind almighty. Mr. Hades, we got any other gods? Oh, right. Almost forgot. On the road to hill there was a railroad station. And a man with fies on his feet. Who can help you to your final destination? Mr. Hermes. That's me. You see, someone's got to tell the tale. Whether or not it turns out. Well maybe it will turn out this time. On the road to hell, On a railroad line. It's a sad song. It's a sad tale. It's a tragedy. It's a sad song.

[Kurt Elling (Hermes)]

Sad song.

[Narrator / Hermes' storytelling voice]

We're gonna sing it in a Everyone gets to be a God. And don't forget that times are hard. Hard times in the world amiss. Let me introduce you to a few of them. You can tip your hats and your wallets. With your pennies or your pearls. To the hardest working chorus in the God's almighty world. And working just as hard for you. Let's see what this crew.

[Kurt Elling (Hermes)]

On the road.

[Narrator / Hermes' storytelling voice]

There was a railroad line. Poor boy working on a song. His mama was a friend of mine. And this boy was a music son. On the railroad line, the road to hell. You might say the boy was touched. Cuz he was touched by the gods themselves. Give it up the obvious. There was one more soul on this road. Girl, come on in from the cold. On a railroad line. On the road to hell. That was a young girl looking for something to eat. And brother, thus begins the tale of Poppius and Eurydice. It's a love song. Tale of the love from long ago. It's a sad song, we gonna sing it. Even so it's old song. It's all different way back when. And we're gonn we gonna sing. We gotta sing it.

[Alison Stewart]

Kurt Elling, that was great. You're about to make your Broadway debut. This is your Broadway debut.

[Kurt Elling (Hermes)]

This is my theater debut from the time I was in high school.

[Narrator / Hermes' storytelling voice]

Every other time, all the rest of the time.

[Kurt Elling (Hermes)]

I've been 30 years on the road as a jazz musician with my own bands and guesting with other bands and such like. And now I get to have this adventure.

[Alison Stewart]

What has this Adventure been like, oh, it's a thrill.

[Kurt Elling (Hermes)]

I mean, I love to be challenged. I always want to be learning new things. When I'm on the road, I'm always trying to meet other musicians and find out, because every person you meet, every musician you meet, has an incredible galaxy of memories and songs and harmony ideas and notes and stories to tell. And I just. I'm just hungry for all of that.

[Alison Stewart]

As you mentioned, you're a Grammy winning jazz vocalist. How did you have to adapt for this role?

[Kurt Elling (Hermes)]

Well, I have to sing higher than I would like to. Oh, yeah, man. They wrote all of this for a tenor, which I am not, so especially not at this hour of the morning. But that's the hardest part. I mean, there's not the kind of blowing space that I'm used to, but that's not really important because it's not a part of the function of the art form. You know, jazz has its history, and it has its traditions and its habits and its creative resources and the stories to tell. And musical theater is an equally rich, flavorful experience. And so, you know, as I say, I like to learn stuff. So let me, you know, put the harness on me for this, and I'll give this the best that I can.

[Alison Stewart]

Let's talk to Liam Robinson for a minute.

[Kurt Elling (Hermes)]

Okay.

[Alison Stewart]

Liam, Hi.

[Liam Robinson (Musical Director)]

A long time listener, first time calling.

[Alison Stewart]

You are the musical director for Hadestown. First of all, would you introduce everybody in the band? Great.

[Liam Robinson (Musical Director)]

Okay. I'm not gonna screw this up. We got Marika Hughes on the cello. Give it up for Dana Lynn on the violin, Ben Perowski on the drums. We got Marielle Bilston on the trombone, Christopher Tordini on the bass, Elisa Tanaze on the guitar.

[Alison Stewart]

So we said to you, can you bring some of the staff and some of the crew down and you can make it really a small group and put them on stage?

[Liam Robinson (Musical Director)]

Yeah, we can do that.

[Alison Stewart]

You can do that. How did you do that?

[Liam Robinson (Musical Director)]

Yeah, we'll bring everybody. Yeah, how about that?

[Alison Stewart]

Tell me about directing this group. What has been the challenge of directing this group?

[Liam Robinson (Musical Director)]

What are the challenges of directing this group? This is. A lot of these musicians were in the show when we were off Broadway in 2016. So this show has had a long history, even with just the folks that you see on stage, let alone before that. So, yeah, I joined years into Anais writing this show, and it was an honor for me to also be, like, one of the arrangers in the show. I arranged for the voices in this show, which was like, that was, I don't know, about a challenge. But that was like. One of my great pleasures is arranging for the many beautiful voices that come through our building.

[Alison Stewart]

Kurt, we're talking about Greek myths here. Why is Ermes an interesting character for you?

[Kurt Elling (Hermes)]

Oh, it's such a meta role. There are so many layers of consciousness that I get to try to inhabit. I get to tell the story to the audience, you know, and I'm used to not having a fourth wall anyway, so, you know, that that fits with me. I can talk to people, and it's no vibe. So I tell the audience, in which case I don't think the other characters can hear what I'm saying because they're inhabiting the reality of the story. And then sometimes I'm in the story, sometimes I'm sort of in ish the story, and I'm sort of trying to maneuver things and everything like that. And then, of course, there's my own consciousness as a person telling this story to this audience on this day, with the news of the world happening and how this story plays into that or comments on that. And so every night, there's some other layer. I'm really trying hard to get as much of the right messages across with nuance and with the clarity that it needs. So when you ask about jazz musicians, say, oh, man, it must be like a straight jacket. It's really not. It's such an exploration. And, of course, the actors that I'm working with are so beautiful and inspiring. And so every night there's, you know, you're interacting with people of a very high level of intense creativity. And so even if the actual stuff that's written down is the thing that's supposed to happen, there's, you know, you're humans and you're breathing it and you're living it, so it's a thrill for me.

[Alison Stewart]

Did you check in with past Hermes?

[Kurt Elling (Hermes)]

You know, I did ask around, and I did solicit advice, and I didn't get any back.

[Alison Stewart]

You have an album coming out?

[Kurt Elling (Hermes)]

I do. Which one is it?

[Alison Stewart]

I don't know. You recently released a solo?

[Kurt Elling (Hermes)]

Well, I have. Yeah. There's a. There's a duo record with my friend Christian Sands. It's Wildflowers, Volume three. We have a Wildflower series. Jazz. Jazz musicians. We don't see each other enough usually. And, you know, you always meet and then it's gone in a heartbeat. And usually there's all this rigamarole to make a record, but why not? But, like, if we've been practicing forever, we should just be able to go into the studio and, like, sing some songs and do some stuff and do it. So we just grab them on the way. So there's a wildflower series. And I'm also. I've got a big band record coming out in February that will be called in the Brass Palace. Ooh, it's exciting.

[Audience Member / Interjection]

Yeah.

[Kurt Elling (Hermes)]

That's gonna be big. I'm excited about that. Thank you for asking.

Of course.

[Alison Stewart]

How are you balancing the two?

[Kurt Elling (Hermes)]

Well, let's see. Last week I did the Tuesday one show and the Wednesday two shows. And then I got on a plane to fly to Stockholm because I had to do a con. Got to do a concert in Stockholm with yellow jackets. And then we went to a town in Poland that only Paolo can pronounce. Yeah, see? Kind of. See? And then Bratislava. And then I got on the plane in Vienna to come back to do the Tuesday show, start the week off again.

[Alison Stewart]

Why don't you have a seat? Why don't you have a rest? I'm here with Broadway is Hadestown. We'll have more with the cast after a break.

[Kurt Elling (Hermes)]

This is all of it.

[Alison Stewart]

This is all of it on wnyc. I'm Alison Stewart, and we are live in the green space at wnyc. You can make noise. It's okay. We're live in the green space at WNYC with Broadway on the radio with the band and the new cast from Broadway's Hadestown. Yes. If you are listening on the radio, you can go to wnyc.org to watch a live stream. And now on the stage is Jack Wolfe as Orpheus and Morgan Dudley as Eurydice. Here is Wedding Song live on wnyc.

[Kurt Elling (Hermes)]

Love it.

[Morgan Dudley (Eurydice)]

Tell me if you can who's gonna.

[Kurt Elling (Hermes)]

Buy the wedding bands? Times being what they are hard and getting harder on the side When I sing my song all the rivers will sing along and they're gonna break their banks for us and with their gold be generous all are flashing in the pan all to fashion for your hand.

[Liam Robinson (Musical Director)]

The river's gonna give us the wedding.

[Kurt Elling (Hermes)]

Ban Love it, Tell me if you're.

[Morgan Dudley (Eurydice)]

Able who's gonna lay the wedding table? Times being what they are dark and.

[Kurt Elling (Hermes)]

Getting darker all the time Love when I sing my song all the trees gonna sing along and they're gonna bend.

[Alison Stewart]

Their branches down to lay that fruit.

[Kurt Elling (Hermes)]

Upon the ground the almond and the apple and the sugar from the maple the trees gonna lay the wedding Love.

[Morgan Dudley (Eurydice)]

It Tell me when we're wed who's gonna make the wedding Bedtimes Being what.

[Kurt Elling (Hermes)]

They are hard and getting harder all the time love it when I sing my song all the birds gonna sing along and they'll come flying from all around to lay their feathers on the ground and we lie down and either down a pillow neath our heads the bird's gonna make the wedding bell and.

[Morgan Dudley (Eurydice)]

The tree is gonna lay the wedding.

[Kurt Elling (Hermes)]

Table and the river's gonna give us.

[Liam Robinson (Musical Director)]

The wedding ban.

[Alison Stewart]

That was wedding song for Broadway's Hadestown. Live in the green space. Thank you so much for being with us. We really appreciate it. Thank you for having us, Morgan. When we meet Eurydice, Hermes describes her as a runaway from everywhere she is ever been. What is she running away from? What is she looking forward to? Wow.

[Morgan Dudley (Eurydice)]

I think, you know, I think the whole point of her running away is just kind of moving around to survive. And so when she sees trouble. When she sees trouble somewhere, you know, she just wants to make sure that she's safe. Oh, thank you. Thank you so much. And I don't know if she has a clear vision of what she's looking forward to as far as optimism goes. I think it's more. Just more food, more shelter. And then when she meets Orpheus, it's the first time that she's realized that she's missing something in her soul.

[Alison Stewart]

I think Orpheus is the character who's a little bit awkward, but he speaks from his heart. He sings from his heart. Tell me about navigating these two sides of Orpheus.

[Liam Robinson (Musical Director)]

Yeah, well, I have to say I was really interested in the idea of this Greek myth sort of hero who is really reluctant to be one. I like the idea of Orpheus being just a sort of every man, one of the sort of workers in the bar that we set Hadestown in who just happens to have this sort of. He's like a vessel to something that's much bigger than him, Much greater than him. Which I think is a very lovely metaphor that when this sort of poetry comes to him, it isn't necessarily something that he's very confident in sharing, but it's something that he feels like he should. Yeah.

[Alison Stewart]

The wedding song comes right after Orpheus and Eurydice meet. He professes his love for her. How does Eurydice react?

[Morgan Dudley (Eurydice)]

Yeah, I think she's just so taken aback, like, wow, that's. That's pretty audacious to say, you're gonna marry me and you just looked at me. But I think what's really cool about their story, though, is that Yerida feels it too, and feels that connection, and it's something that she's actively Running away from and is yet intrigued by, especially with the difference of energy coming from Orpheus.

[Alison Stewart]

What is he saying to her? What is Orpheus saying to her in the wedding song?

[Liam Robinson (Musical Director)]

Well, I think the. The love between Orpheus and Eurydice, which seems so, like, wild to us and to an audience to see something so, like, instant. I think it speaks to the myth in that it's this cosmic connection. I think as soon as he locks eyes on Eurydice, he knows that is his whole future. That is now what he lives for. And he has to go through some wild trials within the show for her. And I think as soon as he meets her, that's just a given that he will do that. So I think the wedding song and the sort of beautiful poetry that Anais wrote, it's just that just. It's wonderful ways of expressing that love and those feelings. I also think within those sort of epic relationship things, there's space for us to be immature or, like, naive and silly. And that's a really special thing to get to play on stage, too.

[Alison Stewart]

Hadestown was an album before it was a musical. What was your first reaction to Hadestown? When did you first experience it?

[Morgan Dudley (Eurydice)]

I first saw the Good Morning America performance of the Wait For Me Reprise. That was like, my first.

[Alison Stewart]

Really?

[Announcer]

Yeah.

[Morgan Dudley (Eurydice)]

So I was kind of late. I remember it was 2019 and I had heard it and I was like, wow, that's amazing. And I listened to the original Broadway cast album. And when I moved to New York, Hadestown was one of the first shows that I bought tickets for myself to see. It was the first show I bought tickets for myself to see. And I was absolutely obsessed with it ever since then. And then I got to listen to.

[Alison Stewart]

All the past albums and then you got to be on it. I know. How about for you, Jack?

[Liam Robinson (Musical Director)]

Well, I'm a bit of a fanboy. I came to the show as a fan of an as already. And Bonnie, like Horseman, her band. And I discovered the. The concept album that had so many people that I love, like Bonnie Veg, you know, Justin Vernon and. And then this. Oh, I think it's the opera way cast recording that has Damon Duano on it, who, again, like, another sort of idol of mine. I think the show has such a rich history of amazing, like, artists who've been involved with it. So I think getting to join and I know be a small part of that tapestry is like a really special thing. So I take that very seriously and I'm very grateful.

[Alison Stewart]

This is your Broadway debut, but we should put an asterisk because you performed on the West End, as people can hear from your accent. What's the difference between New York and London audiences?

[Liam Robinson (Musical Director)]

Oh, wow. There is a huge difference. I think it's really, really. It's amazing to do a show here. I think there's such a present, like, energy in the audiences in New York. I think you. I feel so close to everybody in the building there. There is maybe a slight reservation in audiences in New York. In London, you never really know if they're on your side until the end, whereas here, it feels like a real sort of family thing. It's. Yeah, very special.

[Alison Stewart]

Now, you've stepped into roles before. You were in Jagged Little Pill, right? When you're taking over a role, where does your process begin? Do you start brand new? Do you peek into the other actors?

[Morgan Dudley (Eurydice)]

I own this. I mean, like, if I had already seen the show, which Hadestown, I had, so of course I have it living in my brain. There's just no way to separate the things. But kind of coming into my own process, I like to try and, like, meditate and clear my mind of whatever preconceived notion I feel like I should be putting on based off of anything I saw, and just try to really live the text and the language and the words. And in doing that, especially being in this show for so long, I feel like I've really come into my own and found these new decisions that came to me just based off of what I felt about it. And so it's just been a process. Process of learning to trust myself.

[Alison Stewart]

And you stepped into the role in Next to Normal in the West End. How did you approach it?

[Liam Robinson (Musical Director)]

Well, that was a sort of very different kind of vibe.

[Announcer]

We.

[Liam Robinson (Musical Director)]

We revived the show so it hadn't. It had never come to London before, so. And we were sort of taking the show that had existed on Broadway 15 years ago and trying to sort of revive it for an audience now, I guess. And, I mean, that was amazing. I was a huge fan of that show 15 years ago when I was a young teenager, and again, never really thought I'd get to be in the room as part of, you know, the creation of a new production of it. So, yeah, I guess I had free rein to create a character almost fresh. It's hard, I think, as actors, especially, going into roles that have been sort of iconically played by people before, not to feel some sort of level of imposter syndrome or fear that you might let people down or that, you know, that people have something that they. They're expecting to see, but I think sort of learning to be confident in your portrayal of something is. Is definitely a journey. Yeah, I had the most amazing time, I think. Also, luckily, with both of these shows, with Next Normal and with Hadestown, I'm just really, really blessed to be in a company of really incredible actors and people. So we're really doing this as a unit together, which is cool.

[Alison Stewart]

What are those keys to? Oh, I'm sorry, I have to break.

[Liam Robinson (Musical Director)]

So I lose them all the time. This is. Came from rehearsals. If I have them on me, I can't leave them anywhere.

[Alison Stewart]

Just had to ask, so that's why.

[Liam Robinson (Musical Director)]

And I leave them everywhere.

[Alison Stewart]

The next song we're going to hear is Epic. Can you set this up for us a little bit?

[Morgan Dudley (Eurydice)]

Oh, me?

[Alison Stewart]

Yes.

[Kurt Elling (Hermes)]

What? Oh, my goodness.

[Announcer]

Set it up.

[Morgan Dudley (Eurydice)]

Okay, Set me up.

[Kurt Elling (Hermes)]

Go on.

Yeah.

[Liam Robinson (Musical Director)]

I really want to know what you. What you think it is, but I think.

[Kurt Elling (Hermes)]

I mean, I feel like it's like.

[Morgan Dudley (Eurydice)]

The first time that you're kind of put on the spot to use Orpheus's gifts and we kind of get introduced into, like, what you were saying about how he feels like he has to share this story and explain the world that we're currently living in and so.

[Liam Robinson (Musical Director)]

Absolutely, yeah. Why don't you, like. Exactly. That is his poetry to sort of describe what the story of Hades and Persephone is to the audience. And then I think for me playing the character, for me, my interpretation is a little sort of window into how confident or not so confident he might be in sharing this kind of thing. Yeah.

[Alison Stewart]

Okay, you give me that. You get to go off stage and we'll invite Kurt Elling back on. This is Epic from Hadestown.

[Kurt Elling (Hermes)]

Where'd you get that melody?

[Liam Robinson (Musical Director)]

I don't know. It came to me as if I'd.

[Alison Stewart]

Known it all along.

[Kurt Elling (Hermes)]

You have. It's a. An old song.

[Narrator / Hermes' storytelling voice]

A song of love from long ago, long time since I heard it, though.

[Kurt Elling (Hermes)]

You've heard that melody before?

[Audience Member / Interjection]

Sure.

[Kurt Elling (Hermes)]

Tell me more.

Remember the tale I told you once about the gods?

[Alison Stewart]

Which ones?

[Kurt Elling (Hermes)]

Hades and Persephone. Remember how it used to be their love that made the world go round?

[Liam Robinson (Musical Director)]

Yeah, I remember now.

[Kurt Elling (Hermes)]

But that was long ago.

Tell it again, though.

King of shadows, king of shades. Hades was king of the underworld but he fell in love with a beautiful lady who walked up above in her mother's greener field. He fell in love with Persephone who was gathering flowers in the light of the sun. And he took her home to become his queen where the sun never Shone on anyone.

Go on.

The lady loved him and the kingdom they shed. But without her above, not one flower would grow. So King Hades agreed that for half.

[Alison Stewart]

Of each year she would stay with.

[Kurt Elling (Hermes)]

Him there in his world down below. But the other half, she could walk in the sun. And the sun in turn burned twice as bright, which is where the seasons come from. And with them the cycle of the seed and the sickle and the lives of the people and the birds in their flight.

Singing down below and up above in harmony and rhythm, the gods sang a song of love, and the world sang it with them. But that was long ago, before we.

[Narrator / Hermes' storytelling voice]

Were on this road.

[Alison Stewart]

That was epic. One from Broadway's Hadestown. We'll be right back with more music. And the show's king and queen of the Underworld live in the green space at wnyc. This is all of it on wnyc. I'm Alison Stewart. I'm in the green space at WNYC with the band and the cast of the Broadway hit Hadestown as part of our Broadway on the Radio series. If you're listening on the radio, you can Also watch at WWE wnyc.org and watch the live stream or you can be in the audience. Hi, audience. And now, I want to introduce to the stage Hades himself, Paolo Schott, as well as Eurydice Morgan Dudley. Here's a performance of hey, little songbird.

[Audience Member / Interjection]

Hey, little songbird, give me a song I'm a busy man, man, and I can't stay long I've got clients to call I've got orders to fill I've got walls to build I've got riots to quell and they're giving me hell Back in Hades hey, little songbird, gat got your time? Always a pity for one so pretty and young when poverty comes to clip your wings and knock the wind right out of your lungs Ain't nobody sings on empty ass Change is the call.

[Kurt Elling (Hermes)]

Of this strange man I wanna fly down and feed at his head I want a nice soft place to land I wanna lie down hey, little songbird.

[Audience Member / Interjection]

You got something fine. You shine like a diamond down to mine and the choice is yours if you're willing to choose Seeing as you've got nothing to lose and I could.

[Kurt Elling (Hermes)]

Use a canary Suddenly nothing is as it was. Where are you now? Or wasn't it gonna be the two of us were in weepers?

[Audience Member / Interjection]

Hey, little songbird, Let me guess, he's some kind of poet and he's penniless. Give him your hand he'll give you his hand to mouth. You write your poem when the power is out. Hey, why not fly south for the winter? Hey little songbird look all around you See how the vipers and vultures around you and they'll take you down. They will pick you clean if you stick around. Such a desperate scene. See people get mean when the chips are down.

[Alison Stewart]

That was hey Little Songbird from Hadestown featuring shows Hades and Ridici Paolo shot and Morgan Dudley. We're going to ask to come to the stage. Romeo. Rebecca Naomi Jones, who plays Persephone. You're such a cute couple. Let's start with you and that song. Why does he call her down to the underworld?

[Audience Member / Interjection]

I think. I think he saw an invitation before happening in Aridias mind. And I think that's the opportunity for him to get his masculine power back. After having a huge fight with his wife. You know, he spent so much, so many months away from her and he prepared a whole new house for her as a reception. And when she arrives, she hates it, everything. So he's very frustrated about that. And he sees on the edge of suffering in her own life and decides to get there and to. To give her a little push.

[Alison Stewart]

Let's get her side of the story.

[Audience Member / Interjection]

All right.

[Alison Stewart]

What is Persephone? How would you describe her relationship with Hades?

[Announcer]

You know, I think it's. It's beautiful the way that in this musical it's set up such that these two people actually do love each other. But I think something that I love so much about the direction of this is that with both couples there's this kind of dichotomy between the light and the dark and the hopefulness versus just a sense of nothing is gonna go as planned and I have no hope. And I think where both couples meet is where there's magic. And so I think Persephone loves Hades, but she lives in the natural world and she lives for the natural world. And she lives in hope and she holds onto that hope as much as possible. And so I think for Persephone, when she comes down after the six month stint for the fall time, and she sees what Hades has created for her, which is, you know, more construction and artificial light and all of these things in it feels to her like an assault of the natural world. So I think that's where this couple kind of struggles with each other.

[Audience Member / Interjection]

Yeah, she's right.

[Alison Stewart]

You're an opera star. You have a beautiful voice. You spoke, you've been at the Met Opera. You've also been on Broadway in and Juliet. What is common about opera And Broadway Common. Yes.

[Audience Member / Interjection]

Okay. Well, they both tell stories. They both use human body and the voices in different ways, of course. And. But what I like to always point out are the differences, which, which for me, everybody, you know, that's the first thing. What's the difference? And I say eight shows a week. You know, in opera we have two shows a week and. Or three shows a week.

[Alison Stewart]

Week.

[Audience Member / Interjection]

And here that was the biggest challenge for me when I first had my first musical. How to pace, how to learn to do that for eight shows a week and not be absolutely destroyed.

[Alison Stewart]

And you use the lower part of your register quite a bit.

[Audience Member / Interjection]

Well, that's news for me. Yes, that's news for me. I'm a baritone, so it's in the middle of register of everything of male between the tenor and the bass. So I get to explore a little bit. And this guy helps a lot. The microphones gives the intimacy that I can explore this kind of color that in opera would be not possible.

[Alison Stewart]

Hadestown is sort of a unique musical. So much is told in verse. How is that for you? As someone who's done a lot of Broadway?

[Announcer]

I think text is exciting and I think there's always more to be harvested than we think at first glance. And so be it verse, be it prose. I just think it's. There's just always so many layers. And I think Anais did a beautiful job layering a lot of. A lot of information into these songs. And so I think the storytelling is actually. It's so well laid out for us. So it feels, it feels like we can trust what's there and just do our job and pay attention to each other and listen and let, let it, let it ride.

[Alison Stewart]

You know, you can go big with Persephone. Yes, an actor can go very big with Persephone. What do you like to do with her?

[Announcer]

I like, I do like to go big and get weird.

[Kurt Elling (Hermes)]

I like that she.

[Announcer]

I mean, again, she. She's really hopeful and I think she's. We meet Persephone in a. In a time in her life where she's self medicating with alcohol and, and acting out because she's. She's having a hard time holding onto that hope because so much in the world is informing her otherwise and things are bad and she feels out of control and she's spiraling. And so I think there's all this justification for me to just act out and be weird. And so the way I'm enjoying that personally is like lots of unnecessary squats that no one told me to do, like, just a lot of this for no reason. And, yeah, just, like. I mean, I have, like, a full exorcism on stage where I get to, like, shake myself and kind of try to box the demons away. And, yeah, there's. There's. There's a lot of room for. For fun.

[Alison Stewart]

Paolo, what made you want to be in the role of Hades? You could have had a ton of different roles. Why did you choose this one?

[Audience Member / Interjection]

Well, first of all, when I first saw the musical, I was in love with the music. You know, I left the show thinking the music is the star of this show. And I was so, you know, excited when they came back to me and proposed to do this, so. And I still think the music, it's incredible. And also to play a role that Hades represents, you know, a big boss, a God, someone who, in a way, has lost his way of seeing the humanity in others and just thinking about the work and the job and get, you know, absolutely into that thing. I think that's the main problem with their marriage. You know, whatever he prepares for Persephone, he thinks is the best, but it's. It's the best for. In his vision of it. So to play someone like that, that has such a great, for me, theatrical arc, you know, because he goes through a change in this musical and then he goes back to what he was, but. But he leaves. They leave in a better place in terms of their marriage, if you compare from the beginning of the play. So I think it's a beautiful journey to go through that every day.

[Alison Stewart]

And for you, you could have played.

[Announcer]

A ton of roles.

[Alison Stewart]

Why did you choose Persephone?

[Announcer]

I really love being a part of something that is about trying to have hope and trying to connect with each other amidst chaos in the world. And it just. I mean, I'm happy that Persephone happens to be the vessel for me to be a part of that bit of storytelling in general. But, yeah, I love that she is capable of deep sadness and garnering deep strength and deep love, and she's fun. The last song we're gonna hear is your song.

[Alison Stewart]

Would you set it up for us a little bit?

[Announcer]

Yes. This is the Act 2 opener. It is kind of like Persephone's little, like, sneaky, drunken cabaret act that she does when her husband, the boss, is not paying attention. And it's really like, at her lowest point, I will not be giving you the version where I'm throwing myself around the stage. But, yeah, it's kind of like her rebellious moment where she's Kind of of like taking all of this darkness that she feels and she's kind of just splattering it all over the place.

[Alison Stewart]

Let's get it set. This is from Hadestown.

[Kurt Elling (Hermes)]

Thank you.

[Announcer]

Step into my office.

[Kurt Elling (Hermes)]

I don't know about you boys, but if you're like me, then hanging around this old manhole is bringing you down six feet under. Getting under your skin. Cabin fever is a. You're so crazy stuck in a rut you could use that little pick me up. I can give you what it is you crave. A little something from my good old days. I got the wind right here in a dark I got the rain on top of I got sun sunshine up on the shelf Allow me to introduce myself Brother was my name My name is my lady of chocolate Brother was my name My lady of praise My lady of me Brother was my name My name is I lay on the upside down Wanna know my name? I tell you my name.

[Announcer]

Come here.

[Kurt Elling (Hermes)]

Brother Let me guess it's the little things you miss Spring flowers, autumn leaves Ask me, brother, and you shall receive. Or maybe these just ain't enough maybe you're looking for some stronger stuff. I got a sight for the sorest.

[Announcer]

Eye when was the last time you saw the sky?

[Kurt Elling (Hermes)]

Wipe away your tears, brother Brother, I know how you feel I can see you're blinded by the sadness of it.

[Alison Stewart]

All.

[Kurt Elling (Hermes)]

Look a little closer and it everything will be revealed Look a little closer and there's a crack in the wal. Put your hands together for Mario Bilstead on Trello. Marika Hughes Arcello. Dana Lynn on violin, Matt Krowski on drum. Chris Tardini on bass. Elusha Canaze on guitar. And Leon Robinson on the. You want Snap? I got a Sci Fi. Put a quarter in the slot, you'll get an eyeful. You want the moon? Yeah, I got her too. She's right here waiting in my paper view how long's it been? A little moonshine ain't no sin.

[Announcer]

Tell my husband to take his time.

[Kurt Elling (Hermes)]

What the boss don't know the boss won't mind I didn't have my props.

[Alison Stewart]

Thank you so much to the cast of Hadestown. Paolo Schott as Hades Rebecca. Naomi Jones as as Persephone. Morgan Dudley as Juridisi. Jack Wolf as Orpheus. And her May as Kurt Ellington. And thank you to the band, everybody.

[Kurt Elling (Hermes)]

Give it up for the band.

[Alison Stewart]

I'm Ira Flato, host of Science Friday. For over 30 years, our team has been reporting high quality news about science, technology and medicine. News you won't get anywhere else. And now that political news is 24 7, our audience is turning to us to know about the really important stuff in their lives. Cancer, climate change, genetic engineering, childhood diseases.

[Announcer]

Our sponsors know the value of science and health news.

[Alison Stewart]

For more sponsorship information, visit sponsorship.wnyc.org.