Wait for me, I'm coming!
Written by Anaïs Mitchell, the music of Hadestown switches between traditional New Orleans jazz and alternative folk, providing an operatic yet poignant retelling of a tragic myth.
- Every variation of "Epic," but especially "Epic III
", which becomes downright magical when the factory workers join in with Orpheus. The NYTW version has heavily poetic imagery in the first half as Orpheus contrasts Hades' mistreatment of the workers with the young man in love he once was. - "Wait For Me" is quite possibly one of the most beautiful songs in all of musical theatre. Reeve Carney's haunting vocals combined with the frightened-yet-determined lyrics make it a showstopper as Hermes instructs him on the long, hard road to Hadestown.
- "Why We Build the Wall", while also Nightmare Fuel, contains beautiful harmonies from the ensemble and the wonderfully chilling effect of Patrick Page's rumbling, powerful bass voice.
- "Chant", in which the audience is introduced to Hadestown, alternates between two conversations which mirror each other. Hades shows Persephone the changes he has made to their home, changes which she does not approve of, while Eurydice begs Orpheus to stop working on his song for one minute to prepare for the oncoming storm. The tension of the arrangement really helps sell the rising tensions between the two couples, as well as the increasing obsessions of Hades (with his technology) and Orpheus (with his music).
- "Hey Little Songbird". The contrast between Eva Noblezada and Patrick Page’s voices is chilling. Hades sounds like his voice came from underground.
- Flowers" is a mournful lament sung by Eurydice as she becomes one of the workers and slowly loses her memories of the outside world. The heavy strings and slow tune, combined with Eva Noblezada's deeply emotional performance, sells the sad and regretful song.
- "Chant (Reprise)" is an epic confrontation between Hades and Orpheus as the boy's singing inspires the workers and Eurydice to revolt, while Hades boasts of his power and how he knows from experience that songs aren't enough to help women like Eurydice, finally challenging Orpheus to sing before he kills him. The NYTW version features an additional verse from Persephone as she sadly reflects on her time in love with Hades, and Patrick Page bellowing his "electric city" line so hard there's microphone feedback.
- "His Kiss, The Riot" is an extremely haunting Villain Song for Hades, with eerie, high-pitched instrumentals to contrast his deep, booming voice.
- "We Raise Our Cups", the show's hauntingly beautiful encore after the curtain call, where Persephone and Eurydice, eventually joined by the rest of the cast, lead the audience in a toast to Orpheus and all the dreamers out there who strive to see the world not as it is, but what it could be, before bidding the audience a goodnight.Some flowers bloom
Where the green grass grows.
Our praise is not for them,
But the ones who bloom in the bitter snow.
We raise our cups to them.
We raise our cups and drink them up,
We raise 'em high and drink them dry.
To Orpheus and all of us,
Goodnight brothers, Goodnight! - The Tony Award arrangement of "Wait For Me," which condenses "Road To Hell" by transposing it to E minor before transitioning into the main song.
- Just try not to tap your foot along to any version of "Way Down Hadestown". You'll be tempted to sell your soul too. ... But don't actually, though.
