Myth isn’t just storytelling; it wells out of the collective unconscious, a primal response to the complexity of being human. We return to myths again and again, like helpless children, to better understand our fundamental natures and primordial urges.
If there is a strange familiarity in Anaïs Mitchell’s musical Hadestown – a Tony award-winning reworking of the myth of Orpheus and Eurydice – it’s because we know this story and, poignantly, how it ends. Perhaps telling it again might bring about a different outcome?
