As co-director, I approached Hadestown as a study in descent. The production leaned into physical movement, choral bodies, and shifting light to trace Orpheus and Eurydice through a landscape that feels remembered rather than described.
Every gesture was choreographed against a score of shadow and warmth. The audience is not told what to feel. They are placed inside a room that lets grief arrive on its own terms.
Process Notes
How the piece came together, in movements.
01
Concept
Myth as memory. Descent as a slow reveal, not an event.
02
Movement
Bodies as the score's second instrument. Chorus as weather.
03
Light
Amber above, indigo below. The threshold between them is the whole play.
