“See How the World Could Be, In Spite of the Way That It Is”: How did the Main Themes of Capitalism and Climate Change Presented in Anaïs Mitchell’s Hadestown Reflect the Political and Social Climate of Modern-Day America?

American musicals are known for their enchanting songs and captivating dances to tell their stories. However, below this magical surface, American musicals are keen on tackling relevant political, social, and so many other issues. Countless musicals have attempted to successfully handle American politics and social concerns in their tales, however, no one has done it quite like Anaïs Mitchell’s Hadestown. Hadestown is a retelling of the classic Greek tale, “Orpheus and Eurydice”: Eurydice dies, and Orpheus travels down to Hell, or “Hadestown,” in this case, to bring her back to life, ultimately winning over Hades by playing the song of Hades’ love for his wife, Persephone. From capitalist themes to climate change, Hadestown has represented the concerns of the American political and social scene in a way that has never been done before. Therefore, the main themes of capitalism and climate change represented in Anaïs Mitchell’s Hadestown have successfully represented the current political and social climate of America, through the representation of white supremacy, global warming and cooling, worker exploitation, and so much more. 

Widening our perspective on this subject, we can observe how all American musicals have attempted to tackle relevant issues in society. In his book, The Great White Way: Race and the Broadway Musical (2020), avid theatre producer, director, critic, and playwright for over ten years Warren Hoffman asserts that the Broadway musical “is one of America’s most powerful, influential, and even at times polemical art forms” (Hoffman 2) by addressing the race and politics presented in American musicals. By supplying the reader with information about the beginning of American musicals and how they have developed into what we have today, Hoffman builds his claims about the presence of racial and political issues in these musicals, stating that they “sing, dance, and perform their politics in plain sight” (Hoffman 2-3). Hoffman wishes to convey to the reader the significance of the presence of these issues in American musicals, to demonstrate how these issues are alive in American society. Hoffman claims that “It is no coincidence that the American musical comes into its own in the twentieth century, a time of great racial [and political] upheaval” (Hoffman 3). It is clearly stated in the text how these issues are present in musicals, and therefore represent the issues we are facing as a society. Hoffman addresses American musicals as a whole, however, his arguments can be used to support Hadestown’s take on American politics and social issues. By portraying America’s political and social climate through the representation of capitalism and climate change, Hadestown tells us “profound truths about the world in which we live” (Hoffman 3).

Hadestown had an astonishing Broadway run and is still living in it today, winning Best Musical at the Tony Awards in 2019 and bringing in upwards of $4 million in revenue. It was not too shabby with the critics either, earning “Critic’s Choice” in the New York Times. The official review was published in 2019 and written by Jesse Green, chief theatre critic for the New York Times, and titled “Review: The Metamorphosis of Hadestown, From Cool to Gorgeous.” Green asserted that Hadestown was an “abstract experience” (Green), by addressing the issue of climate change that is personified through Persephone’s character. By supplying the reader with information on the ways that Persephone represented the climate change that the world is facing today, stating that “The struggle between Hades and Persephone naturally becomes a parable of climate change” (Green), Green builds his claims about the relevance of Hadestown in today’s society. Green wishes to convey to readers the pressing concern of climate change, in hopes of inspiring a change in societal actions. In the original myth, Persephone is presented to be the reason for the change in seasons: she created winter when she left the world above to travel down to Hell for six months to be with Hades and brought spring with her when she returned to the world above for the other six months of the year. Hadestown has spun the original myth by having Persephone be late on her arrivals to Hell and the world above, therefore causing a seasonal imbalance. While climate change may not be at the forefront of the news, as some other societal issues are, Green wishes to point out the significance of it and the need to address and change it before it is too late. Similarly, Hadestown wishes to do the same and represents this modern-day issue by personifying climate change as the character of Persephone. The biggest idea that Hadestown pushes to the audience is that “what really matters is happening where you can’t see it” (Green).

White supremacy is one of the biggest factors of capitalism, and Hades’ industrialist attitude was a prime representation of this fact in Hadestown. To analyze this further, we will turn to the arguments presented by graduate student Nia Wilson. Holding a Bachelor’s degree in Literature and Theatre from New York University Abu Dhabi and a current graduate student in the Performance Studies Department at Texas A&M University, Nia Wilson, in their journal entry from TDR: Drama Review, “Hadestown: Nontraditional Casting, Race, and Capitalism,” published in 2021, addresses the topic of race and how it relates to the capitalism presented in Hadestown and argues that the white supremacist attitude portrayed by Patrick Page in the role of Hades helped to serve the vision of the capitalist world that was created. They support this claim by presenting the racial information about casting an older white man to play the role of the “neoliberal capitalist Hades” (Wilson 189), and then observing the capitalist world that has been created on stage, and finally connecting the two to prove how casting a white male as Hades was essential to further serve the ideals of this capitalist society that has been created, as “Page’s industrialist Hades emanates white authority” (Wilson 190). Wilson’s purpose in writing is to inform the audience of the significance of the nontraditional casting to further this capitalist society, alert society of these ideals, and inform them of the world we could be heading towards if nothing changes. Wilson proves how these capitalist views are a reflection of American society when they state, “Hadestown frames itself as representing the United States” (Wilson 189). Additionally, Wilson shows how Hadestown’s “social and political themes … index the 21st Century” (Wilson 189). As can be seen here, American politics are at the forefront of this modern rendition of an ancient Greek tale. Opening Hadestown on Broadway in 2019, “in the midst of a time when the United States is examining the history and ongoing conditions of white supremacy” (Wilson 192), was essential in getting the capitalist message across to the audience and to show what the world could turn into if we keep letting these themes slide.

Another argument in favor of America’s political representation in Hadestown can be found in Isabel Thomas’ honors paper. In “‘How the World Could Be in Spite of the Way That It Is’: Broadway as a Reflection of Contemporary American Sociopolitical Life” (2020), author Isabel Thomas, honors student in the Department of Sociology at Bowdoin College, asserts that Hadestown engages with contemporary social issues. She backs up this claim by providing background information about Hadestown and some of the social and political issues that are covered, then she compares these social and political issues to those of which we see in society today. Thomas begins her argument by stating how “Hadestown tackles themes of capitalism and climate change … in a world of class divides and worker exploitation” (Thomas 65). To support her argument, Thomas brings in evidence provided by Daryl Roth, a Tony Award-winning theatre producer. Thomas quotes Roth when she states, “‘That to me is such a current story … It’s about class, it’s about divisions in the world, and I think that’s holding a mirror up to today’” (Thomas 65). Hadestown is attempting to reflect the American social and political climate in their clever retelling of “Orpheus and Eurydice,” by demonstrating the class divide between a poor boy like Orpheus and a capitalist king like Hades, and worker exploitation as demonstrated by the condemned Workers under the torment of the capitalist and elitist Hades. Thomas appears to write in hopes of alerting the audience of these issues presented in Hadestown while keeping their minds open to the ongoing issues still present in society. 

Isabel Thomas’ honors paper encourages the arguments presented in Nia Wilson’s journal entry. Wilson writes how “Hadestown is set in an underground industrial plant powered by indentured laborers, presided over by neoliberal capitalist Hades” (Wilson 189). To further prove this, Thomas argues how “Hadestown tackles themes of capitalism and climate change and contemplates the viability of love and art in a world of class divides and industrial exploitation, which struck a chord with audiences” (Thomas 65). As can be seen here, both sources discuss the class divide between the Workers and Hades, demonstrating the theme of worker exploitation as a result of capitalism that Hadestown represents. The passage from Thomas’ paper extends the information provided by Wilson’s journal entry. Wilson discusses the basis of Hadestown, and Thomas adds to this by comparing this world that was created to the one we live in today. These passages illustrate Hades as a central figure for the capitalism represented in Hadestown and demonstrate how his patriarchal power showcases the capitalism that he is condemning, which can be compared to the capitalism that we are seeing in the world at the time that Hadestown opened on Broadway and today.

Hadestown’s lyrics are rich in references to today’s society, however, one song, in particular, has risen to the surface as being the most politically and socially relevant song in the history of Broadway. Hadestown’s Act I finale song, “Why We Build the Wall” (Why We Build the Wall), is arguably the most politically relevant piece of the entire musical. Formatted in a call-and-response structure between the Workers and Hades, “Why We Build the Wall” is a prime demonstration of how Hades groomed his Workers into accepting exploitative labor conditions in the name of freedom and protection. Originally written by Anaïs Mitchell back in 2006, years before Trump’s “wall,” this song has become an anthem for capitalism seen in American society today. Hades begins the piece by singing, “Why do we build the wall, my children, my children?” (Mitchell), having the Workers respond with “Why do we build the wall? / We build the wall to keep us free” (Mitchell). Hades also manipulates his Workers into singing other lines, such as “The wall keeps out the enemy / And we build the wall to keep us free” (Mitchell). By shaping his Workers’ minds to believe that trapping their souls is what will keep them free, Hades is a prime example of a capitalist leader. Additionally, he even shifts the focus away from himself, having the Workers sing that “The enemy is poverty” (Michell). They are not even free to see that Hades is the enemy, and by this, Hades continues to abuse and exploit their labor. To top it all off, Hades and the Workers together sing “And the war is never won,” which can be seen as a reference to capitalism, a war that has been going on for ages, and will probably continue in the future. Capitalism has always been present in our society, demonstrated by the actions of previous political leaders, and “Why We Build the Wall” is an amazing lyrical representation of these political themes. 

After this lyrical masterpiece skyrocketed in popularity and relevance after the Trump campaign, playwright Anaïs Mitchell completed an interview in 2019 for TheatreMania on YouTube, titled “Making the Music: Anaïs Mitchell Breaks Down “Why We Build the Wall” From Hadestown,” (Making the Music), breaking down the creation of this masterpiece of a song, addressing the relevant political and social themes present in the lyrics and structure of this piece. Mitchell showcases how the song is meant as a question, not an answer, which proves how she never meant to solve the issue of capitalism with Hadestown, she just wanted to make society aware of the capitalist themes that are present in our society to inspire change. Mitchell claims, “I would have never expected for it to become as relevant as it has now” (Mitchell), however, she is glad that people can find meaning in a song that speaks to today’s climate. By supplying the reader with information about the political and social themes addressed in the song, Mitchell builds her claims on the significance of the piece. Michell believes that Hades truly thinks he is doing the right thing and is unable to see the pain and suffering that he is causing. This can be seen with present and previous political leaders not seeing the subsequent issues that their actions are causing, both in the political and social world. 

Anaïs Mitchell’s interview supports the ideas presented in the lyrics of the song “Why We Build the Wall.” In the Act I finale song, Hades sings, “Why do we build the wall, my children, my children?” (Mitchell), eventually cooing the Workers to respond with, “We build the wall to keep us free” (Mitchell). To further emphasize the point that Mitchell was making with her lyrics, she states in her interview how the song “repeats itself again and again” (Mitchell), which makes the concepts presented easy to grasp. As is demonstrated here, both sources are discussing the innuendos demonstrated through this song, which supports the theme of capitalism in Hadestown. Anaïs Mitchell’s interview extends to the information provided by the lyrics of her song, “Why We Build the Wall,” which all helps to further prove the claim that the capitalism that reigned throughout Hadestown can be seen as a representation of America’s current political climate.  

While using one of America’s largest art forms to portray issues present in our society has become increasingly popular through musicals like Hadestown, many believe using an art form that was built off these ideals that are being condemned is contradictory in nature. In the article, “The Liberating, Radical Politics of Hadestown” (2019), Vogue author Bridget Read asserts that politics were at the forefront of Hadestown, however, she also suggests that using musicals to convey American politics to society can be controversial. By supplying the reader with information about the history of politics in American musicals, and providing examples to compare Hadestown to, Read builds her claim that politics are present in this award-winning musical, however, having the politics there in the first place seems to be the larger issue. Read begins by stating how “Hadestown’s politics are not merely progressive – … they’re not just anti-Trump. They’re something much bigger: They are radical and worker-driven” (Read). As can be seen here, Read agrees that there are politics present in Hadestown, and compares them to the times that we are in. However, Read’s issue is that politics should not be present in this American musical at all. She begins by claiming how “Political musicals became shorthand for self-congratulatory, liberal politics” (Read). Additionally, Read compares Hadestown to another popular political musical these days, Hamilton. While Read goes into detail about her issues with Hamilton, her biggest takeaway is that it is controversial to condemn American politics on a platform that reinforces them. She has similar opinions about Hadestown as well, however, Hadestown’s saving grace in this case scenario is that it is a retelling of a Greek tale, not an American one, therefore contrasting with Hamilton. In the end, Read wishes to convey to the audience the significance of these political musicals, while still being wary of the ethicality of telling such stories on a platform that was built off of these profits. 

Hadestown’s radical political and social significance has been the talk of the century ever since the first notes opened the show at the Walter Kerr Theatre in 2019. Ever since, comparisons after comparisons have surfaced, comparing the political and social issues present in Hadestown to those currently present in America. Hadestown was seamlessly able to magically retell a classic Greek tale, while referencing and bringing awareness to modern-day issues in America’s social and political climate, such as capitalism, climate change, white supremacy, worker exploitation, and many more. Just as André de Shields as Hermes sings in the finale of the musical, “To know how it ends / And still begin to sing it again / As if it might turn out this time” (Mitchell), the tale of capitalism and climate change in America is not new. We have been dealing with these crises for centuries, but through musicals like Hadestown, we will continue to tell this story, in hopes of it turning out this time. Hadestown hopes to inspire change in the political and social world, and I hope to pass this inspiration for change along to my audience. As Nia Wilson states in their journal entry, Hadestown “invites the spectators to consider their own access to economic and social power” (Wilson 192), and I hope to do the same. Hadestown is a representation of the way that the world could be, in spite of the way that it is. However, the biggest message that can be taken away is that it is never too late to change the way of the world, and we will continue to sing this song again and again until it turns into the way it could be. 

Works Cited

Green, Jesse. “Review: The Metamorphosis of Hadestown, From Cool to Gorgeous.” The New York Times, The New York Times, 18 Apr. 2019, Review: The Metamorphosis of ‘Hadestown,’ From Cool to Gorgeous (Published 2019). 

Hoffman, Warren. “Overture.” The Great White Way: Race and the Broadway Musical, Second ed., Rutgers University Press, New Brunswick, NJ, 2020, pp. 1–28.

Mitchell, Anaïs. “Making the Music: Anaïs Mitchell Breaks Down “Why We Build the Wall” From Hadestown.” Interview by TheaterMania. YouTube, TheaterMania, 7 June 2019, Making the Music. 

Page, Patrick, and Hadestown Original Broadway Company. “Why We Build the Wall.” Hadestown (Original Broadway Cast Recording), Anaïs Mitchell, 2019, track 19. Spotify, Why We Build the Wall.

Read, Bridget. “The Liberating, Radical Politics of Hadestown.” Vogue, Vogue, 6 June 2019, hadestown-radical-politics-labor-review.

Thomas, Isabel. “‘How the World Could Be in Spite of the Way That It Is’: Broadway as a Reflection of Contemporary American Sociopolitical Life.” Bowdoin Digital Commons, Bowdoin College, 2020, pp. 57-71.

Wilson, Nia. “Hadestown: Nontraditional Casting, Race, and Capitalism.” TDR : Drama Review, vol. 65, no. 1, Cambridge University Press, 2021, pp. 188–92.