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Greek legend with a Depression-era twist

In Greek mythology, Orpheus is a legendary poet and musician whose music charms all living things, including animals and trees.

In Greek mythology, Orpheus is a legendary poet and musician whose music charms all living things, including animals and trees.

In modern times he is best remembered for his doomed quest to rescue his wife Eurydice from the underworld after she dies of a snakebite.

Vermont-born Anais Mitchell, also deeply passionate about music, has retooled this classic tale into Hadestown, an international touring folk opera that stops at the Arden Theatre March 21 and 22.

An all-Canadian cast that includes St. Albert’s Stephen Tchir as Orpheus, John Rutherford as Hades, Charlotte Cornfield as Persephone and Kris Demeanor as Hermes will join Mitchell and her six-piece Hadestown Orchestra. In addition, Rebecca Anderson, Andrea House and Kaley Bird play The Fates.

With long-time collaborators Michael Chorney and Ben t. Matchstick, Mitchell has updated her epic folk opera and set it in a post-apocalyptic American depression era.

Jobs are few, money is scarce and poverty is rampant. In the introductory Wedding Song, Eurydice and Orpheus are planning an engagement.

Hadestown is a rich mining centre, a metaphor for the underworld. People living here give up certain freedoms in return for safety and security. Eurydice, uncertain that Orpheus can provide the necessities of life, chooses the land of wealth over poverty with her lover.

“It’s a meditation of wealth and poverty and the choices we make when we are pushed against the wall,” said Mitchell.

Orpheus charms his way past the guards and pleads with Hades and Persephone for Eurydice. He moves Persephone’s heart and she in turn persuades Hades to release Eurydice. However in their journey out of Hadestown, Orpheus must not look back to see if Eurydice is following him.

“At the last minute doubt overcomes him. He thinks he’s been tricked, looks back and leaves her there forever.”

For Tchir, playing the role of Orpheus is a dream come true.

“Not only do I get to play with some fantastic Alberta musicians, but by extension I’m playing with the incredible musicians that recorded the album of this folk opera,” he said.

After Tchir’s band Five O’Clock Charlie disbanded in 2005, he pursued a music degree, studying jazz, guitar and classical piano at Montreal’s Concordia College. Upon his return to St. Albert in 2008, he embarked on a masters program in musicology at the University of Alberta while landing exclusive gigs with the likes of Juno-nominated Colleen Brown.

He was connected to the Hadestown project after a fellow Concordia classmate, Charlotte Cornfield (Persephone), who was also a good friend of Mitchell, suggested Tchir for the role.

Mitchell sent him the libretto, lyrics and a copy of the Hadestown studio album released in 2010 through Righteous Babe Records.

Fascinated by Greek mythology from his early grades, Tchir dived into this creative adaptation with gusto.

“It’s the folk response to the rock opera Tommy. Just the idea that you can combine folk music and a traditional morality tale is incredible. It’s an interesting mix between folk and the more formal concert opera,” he said.

Although this version portrays much more of the female side of the myth, Orpheus is still imbued with depth and complexity.

“He’s a dedicated lover, but quite poor and can’t be a monetary provider. It’s his grain of doubt that is his flaw. He’s very complicated and it’s very easy to sympathize with him.”

It’s no mean feat to create an entire 18-song folk opera and much of Mitchell’s creativity was sparked by her upbringing.

“I grew up on a sheep farm. My parents were back-to-the-landers,” she said. “They came from suburban New Jersey and Chicago and they raised my brother and me in a rural area. I loved it as a kid. It was great. Dad was a writer and taught English and film at a local college. We had the best of the cultural scene, film, music and poetry.”

“My mom was anti-TV and we lived off the grid. My brother and I ran around the woods playing these imaginative games.”

Without a TV, the family often put on records and sang and danced along.

“From a young age, I had the idea it was a cool thing to do,” Mitchell said.

She learned to play a violin and then a guitar, and modelled her music after the likes of outspoken, political voices such as Ani de Franco, Dar Williams and Tori Amos.

“I got into writing music because I wanted people to pay attention. My goal has never been easy listening. For me storytelling is big and Hadestown is the ultimate expression – telling a story over cycled songs.”

Ultimately, Mitchell sees the Orpheus tale almost as an ancient ritual told so many times that it will never be old.

“It’s like a crystal,” she says. “It throws light in different corners. It’s a powerful story and it’s almost like a cultural exchange to enact this ritual.”

Preview

Hadestown: A Folk Opera<br />Anais Mitchell and the Hadestown Orchestra<br />March 21 and 22 at 7:30 p.m.<br />Arden Theatre<br />Tickets: $32. Call 780-459-1542 or purchase online at www.ticketmaster.ca

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