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Against the wind.

“Best not to ask all that much about what Mitchell's Hadestown – a stylized demonic factory town, rather than the afterlife – means as a metaphor, either. We're simply supposed to take it as a symbol for all that is wrong, even though there's not a compelling alternative vision offered by either Orpheus or the above-ground world – especially in scenic designer Rachel Hauck's austere depiction of it, a leafless tree in front of a black backdrop. When the orange glow of the lamps of Hades descend onto the stage, it is welcome.”