Some Hadestown Bway vs NYTW takes, in no particular order:
The Fatesā part in Doubt Comes In is better in NYTW, but Eurydiceās is better in Bway
The change of the description of Hadestown from NYTW to Bway was PERFECTION. Most of us today do not participate in capitalism under any notion that we will be rewarded with a lavish life, we know we are working ourselves to death for almost nothing in return, yet we do it anyway because we have little other choice.
Epic III is better in the NYTW, full stop.
While Promises in the NYTW feels more realistic, the Bway version serves the story soooo much better. The couple in NYTW Promises clearly does not trust each other enough for this challenge, which cheapens the tragedy because you canāt forget the ending, and it feels more inevitable. Bway Promises really makes it feel like āmaybe it will turn out this timeā
While I do love Persephoneās verse in Chant II, the juxtaposition of Hadesā love in the beginning and how it has devolved is the crux of Epic II. I understand why they took it out, to not have that same poetic declaration of how earnest and true his first forays into their relationship were in the song immediately before Epic III, but I do still think thereās something to the tragedy of everyone being able to see how heās pushed her away except for him. I donāt know, her verse makes me very conflicted. Hadesā verse should have remained unchanged though.
Overall, while I think a lot of the changes make sense, and I love the Broadway version with all my heart, I do mourn the simplification of a lot of the poetry from NYTW




















