Anaïs Mitchell’s reimagining of Greek myths for the stage involves telling the story of Orpheus and Eurydice in both “up top”, the underworld - the titular Hadestown -, and the challenging journeys back and forth between the two. To tell this story the production requires considerable automation of the stage and set and, from the moment towards the end of act one when Persephone returns to Hades, every musical number is supported by extensive automation cues.
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Image provided by Marc Brenner
Image provided by Marc Brenner
The award-winning set design includes a revolve constructed of three concentric rings, with the central part also able to elevate to form a pedestal or to descend into the pit to transport characters to and from the underworld. The main set, which also houses the live on-stage band, is divided between four wagons, which enable transformation of the main playing space between worlds.
Image provided by Marc Brenner
Image provided by Marc Brenner
Image provided by Marc Brenner
TAIT’s ability to add machinery automation to sets built by others, by deploying motors from our extensive stock of reconfigurable inventory, combined with our versatile portable AU:Tour drive racks, enabled the motion of the three revolve sections, whilst our bespoke Stage Machinery System engineering facilitated the central lift, and our controls integration added the necessary safety interlocks.
