Musicals are a notorious way to suck up long periods of your life. They take a great deal of time to develop, but Hadestown – the biggest musical to open in the West End so far this year, based loosely on the Greek myth of Orpheus and Eurydice – really has been a long and winding road. Its creator Anaïs Mitchell has been working on it, in some form, for two decades.
It doesn't seem to have taken it's toll. “The crazy thing about living with this show is that it has kept on giving,” the musician-turned-musical theatre writer says when we meet, sounding remarkably lucid for someone who got off a transatlantic flight just a few hours before.
