By Danika Sudik

The ancient Greeks didn't have a specific word for acting before an audience; they used techne to describe it as a craft in the same way one might craft a ship, build a poem, or practice the art of medicine. Aristotle elevated techne to include not just the craft, which aims to produce in service of a higher good, but also posited that participating in the activity itself—the activity of creating—held value. Like Plato before him, Aristotle believed in the importance of the practitioner being able to explain their craft, to know it so well that he could teach it to others, understanding not only the wisdom of its mechanics but also the value of how it contributes to a larger whole. So humor me as I try to explain the process and craft of what is onstage before you.

I lobbied hard to direct this show. Long ago, Tom & I were both working with Dale Franzen (the Tony Award winning Producer of Hadestown on Broadway) at The Broad Stage in Santa Monica when she brought in an early version of Hadestown and asked us to share our thoughts. We knew right away it was special--not because of what we heard on the CD. The music was interesting, sure, but it hadn't yet undergone all the countless hours of development Anaïs Mitchell and her creative partners would continue to pour into its evolution. No. We knew it was special because of what it did to her; Dale herself was transfixed and transformed--energized with laser-like focus to ensure Hadestown was shared with the world.

At first, I had my doubts about a teen version of this play, as so much of what resonates with me is how relationships endure and mature over time—or, at the very least, change as you age. But then I thought, 'if I were a god and could choose any form, would I choose my middle-aged body?'  With that silly thought (along with witnessing the extraordinary youth talent at WOH), my concerns were alleviated. Just like the gods themselves, the themes of this show are timeless, and our cast represents the growth, possibility, and potential that we all aspire to: their youth underscores the critical questions raised by the play.

Then, in a tragic turn of events, a perfect storm hit our family. Death, loss, grief, illness, betrayal--most completely outside of our control, required our full presence to move through. I asked Tom to find another director so we could focus on the one thing we could control, breathing through the chaos, and caring for each other and our children. It turns out that finding a replacement was not so easy (good on all, y'all making summer plans, btw). Eventually, we decided to direct together, hoping we could lighten the load by sharing it.

The creative process is clarifying — it can bring out the best and worst in us, as insecurities are exposed. We are either polished or transformed--like a diamond in the mine--as the heat and pressure of an impending performance asks more of us than we regularly ask of ourselves. I was afraid that adding the volatility that comes with the creative process into our lives would break us, but I'm now so grateful the gods gifted us this experience. It has been good medicine.  

Hadestown brings forward many themes for us to ponder: life and death, the extremes of what a human being can endure, the difference between solitude and lonliness, the importance of fulfilling your calling, the wonder if anything we do actually matters, how relationships repair after betrayal, how relationships decay if not tended mindfully, how to move through unpredictable weather (both actual and metaphorically), how politics and geography shape our lives, the impacts of the economy at the level of the individual, what drives people to choose fear and violence, and what inspires people, despite pain, inequities, and injustice to keep choosing to believe in a better world, and create that world with every breath, thought, action, and word. Mostly, Hadestown reminds me that the gods (staying with the conceit of the show, insert your belief system here) are kind enough to continue presenting us with problems, over and over again, until we can learn from them and truly embody their lessons.

In his time, Plato was unnerved by writing overtaking oral communication as the dominant form of communication. He preferred the dynamic ability of conversation to deepen understanding, clarify truths, and spark engagement between individuals. Within our lifetimes, communication has undergone radical transformations in ways that Plato could never have imagined.

Hadestown: Teen Edition presents a gorgeous book and score that connects us to the ancients across thousands of years of human communication, to the questions humanity has always grappled with. What you see onstage is a story that has been retold across centuries and cultures and languages, picking up things and leaving others behind, translated and interpreted by real people, again and again. This particular musical is uniquely American in its fusion of musical traditions that weave our complicated, beautiful, and tragic past and present into every measure of music.

Before psychology, or modern medicine, indeed, perhaps even before anything we would recognize as religion, there was a story passed from one human voice to another listening ear. While the mediums change over time, our human need for connection does not. Each of us yearns to be witnessed, to be understood, to be valued for who and what we already are. Live theatre is techne, as Aristotle described it —the interplay between process and product. We hope you enjoy the product you see onstage tonight, but we hope you are transfixed and transformed, as we have been, by the process of witnessing the act of creation.  

I believe no other story-sharing medium comes close to collaborating with other lovers of an art form to share it with an audience, supported by technology but not separated by it. We are here, together, feeling the energy and vitality of the living, breathing people sitting in the seats all around us. This, is where the magic happens. This is where transformation occurs. This is where we can truly be recognized by another person: in the present moment.  

The product you see onstage tonight is the result of many hands. Not just those listed in the program, but the processes of parents who rearranged their lives to support their children, ushers who volunteer their time to greet you with a smile, and members of the community who support the theatre and education programs at WOH not just with their time, talent, or donations, but with their presence.

We meet each other at the theatre to bask in that energy; to be in conversation with our community, and to give and receive attention and support. Thank you for being here with us. You complete our craft with your invaluable contribution of showing up and being exactly who and what you are.  

We raise our cups to you. Enjoy the show.

When audiences hear “Teen Edition” in the title of a musical, it’s easy to make assumptions. Maybe the music will be simplified, the performances rough around the edges, or the experience somehow “less than” what you’d expect from a mainstage production. But step into Woodland Opera House’s Hadestown: Teen Edition and those assumptions are immediately, joyfully shattered. Here, what’s on display is a level of artistry and maturity that makes the “teen” tag seem almost incidental—except for the fact that this production might be the ideal way to experience Anaïs Mitchell’s mythic musical.

More Than Teen Talent: A Cast of Pre-Professionals

From the first rehearsal, it was clear that the principal actors of Woodland’s Hadestown weren’t just passionate teenagers—they’re emerging professionals, already boasting years of training and a depth of insight rare at any age.

For instance, Maggie McGoldrick, who plays Eurydice, has been performing since the age of four. “I’ve been taking weekly private voice lessons since I was four years old. I have trained in tap, jazz, ballet, contemporary, hip hop and have been taking dance consistently since I was three. I have recently added weekly private acting lessons,” she shares. Her resume rivals many adults, but it’s her resilience—learning to dance again after major reconstructive hip surgery and spinal fusion—that makes her performance unforgettable. “The strength I developed through all of this helps me relate to Eurydice. We are both fighters.”

Jayden Wynn, stepping into the shoes of Hermes, brings a distinct combination of musicality and life experience. “I’ve just recently started my acting journey with about 2 years now of performing. But before that I was really into jazz, playing for my high school and still playing jazz now,” Jayden explains. His transition from music to acting was guided by college-level training: “I’ve had the great opportunity of taking a couple of Ryan Adame’s classes. I learned not only about how to move on stage but also the awareness needed to work a stage and work with others.” Jayden’s personal connection to Hermes runs deep: “I relate to Hermes, because of the aspect of being a guardian or ‘parental’ guide. My life as an older brother, I had to help raise my younger siblings. So with Hermes not being Orpheus’s dad but still guiding him with life, I see bits and pieces of my life in him.”

Vinson Jin, our Orpheus, comes from a background in theatre and pop music but approaches his role with a professional’s self-awareness and emotional depth. “Orpheus is a very emotionally in-tune person, and I draw a lot from my own personal experiences and life into my portrayal of the character. He is a true representation of that inner child in many people, and that’s how I hope to portray him: to demonstrate the shift between that inner child within us and our coming to terms with the way reality can sometimes be.” Vinson’s maturity as an artist is matched by his technical training, including private vocal and acting lessons, honed through a long history of performance.

Aaron Ruiz’s Hades is shaped by years of rigorous training and a nuanced understanding of character. “I’ve had vocal lessons with the amazing Carrie Hennessey for four years. Acting classes for four years at performing and fine arts academy, under Rick Gott, and Karen Pollard. Three years of ballet training with Abelardo Cisneros. And a Sac Ballet summer intensive!” he lists. Aaron is drawn to the complexity of Hades: “He is a god, but feels very human emotions, of love, loss, and jealousy. I think I can relate to some of those strong feelings.”

And then there’s Evie Barnett as Persephone, whose artistry is inseparable from her curiosity about the world. “Persephone is such a wonderful character, because she holds life not only in her most vibrant moments, but in the fact that she has deep layers like the rest of us. I relate to Persephone’s appreciation for the world around her, and her love for connection with others.” Evie’s passion for both theatre and marine biology speaks to a performer—and a person—who finds wonder everywhere.

Complex Stories, Intelligent Storytellers

What becomes clear as you talk to these young artists is how seriously they take their craft. They see themselves on a professional trajectory. “I hope to have graduated from college with a Bachelor of Fine Arts in Musical Theatre, and start working full time in the industry,” says Maggie. Vinson echoes this ambition: “Performance of some sort, hopefully based in LA or NYC.”

But it’s not just about talent and training—it’s about insight. These performers are thinkers, storytellers, and collaborators. They speak with a maturity that belies their years, reflecting on the show’s themes and their own journeys with eloquence. As Jayden puts it, “During the end of the show when everyone is on stage as an actor, harmonizing and singing about telling a great story again and again really resonates with me. At that moment, we are more than just our characters, we are all storytellers. Bringing the audience along a journey with us as we show them just a bit of what theatre is about.”

For this ensemble, Hadestown is personal. Maggie is moved by “watching Hades and Persephone remember their love for each other. This scene is so moving because it pulls at your heart strings and gives you hope when you thought it was lost.” Vinson finds the show’s duality in its music: “It’s the form of unconditional love that I think makes it one of the most gorgeous songs and moments in the show… If It’s True, however, is almost the opposite. For the first time, Orpheus is pushed into reality, he is at the lowest point he has ever been at, everything has been taken from him and it’s reflected in the words, you feel the immense pain, loss and heartache he suffers.”

A Mainstage Experience—In Every Sense

Co-Director Tom Burmester notes, “There’s a persistent bias out there: some folks believe ‘teen’ productions are somehow lesser… I want to assure you—and ask you to help spread the word—that our production features the FULL score. The only thing ‘teen’ about it is the ages of the talented cast.” While the Woodland Opera House production is affiliated with their education program, unlike many other “Hadestown: Teen Edition” productions that charge significant tuition and a scaled back the experience, Woodland Opera House has invested in this show as a true mainstage event--tuition-free, with the same production budget as adult-cast shows. “This is not a student showcase. This is a Main Stage Production—and these young artists have poured their entire summer into making it unforgettable,” says Burmester.

In fact, Hadestown was almost meant to be performed by young actors. After all, if you were a god and could manifest as any age, would you be in your 19 year-old body or your 50 year-old body? There is a raw energy, an immediacy, and a sense of possibility in this cast that brings a fresh urgency to the story.

Why You Can’t Miss This

These performers are not just promising—they’re already performing at a level that rivals professional productions. “The people in this show are names you’ll be hearing more in the musical theater world,” says Aaron. Jayden offers a playful challenge: “YOU HAVE TO SEE THE FATES. They are amazing. ALL 600 of them.” And Evie adds, “There’s a ‘wow’ moment around every corner! Whether you know the show and already love it, or are looking for something to enjoy, Hadestown is deliciously relatable and heartfelt, and the music will get you humming on the car ride home!”

The “Teen Edition” addendum in the title is a licensing requirement, not a reflection of ability. Audiences will find themselves swept into an experience that’s as polished, moving, and unforgettable as any other. As Burmester reminds us, “When you sit in the audience, you will be swept away by the music and the storytelling. You’ll forget you’re watching teenagers, and then at some point, you’ll remember—and it will blow your mind.”

Woodland Opera House Youth Program, Summer 2025
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In every great myth, there are the heroes we sing about—and those who hold the story together from outside the spotlight. To understudy is to accept one of the most demanding and essential roles in theatre. These artists learn to lead from the wings, staying focused not for applause, but for love of the story and the craft. Let us introduce you to the understudies and swings of Hadestown—our unsung heroes.

What Does an Understudy Do?

In Hadestown, a sung-through musical with layered harmonies and continuous movement, the challenge of understudying is heightened. There are no clean breaks—only music, motion, and momentum. Understudies and swings must be ready to jump into that current without hesitation.

"I love how well it all fits together! I don't think I know a musical with better reprises."—Rimon Caballero, Hades Understudy

An understudy learns a principal role inside and out—lines, music, blocking, choreography—prepared to step in at a moment's notice. A swing may learn several tracks, switching roles as needed with little warning. Often, they rehearse in fragments, absorbing scenes from the sidelines and running harmonies under their breath.

"The main thing I've learned this time is how to ask questions that benefit me and my process."—Nathaniel Flint, Hermes Understudy

Their goal isn't simply to know the part—it's to embody it so completely that the audience never notices a change. That kind of preparation takes focus, self-motivation, and an extraordinary commitment to the whole.

"This is my favorite musical, and has been for a few years now. I feel it's a very special opportunity to contribute, regardless of who I was in the story."—Ari Garcia, Persephone Understudy

Why Are Understudies So Important?

In live theatre, the unexpected is inevitable. Understudies are the reason the story never stops. Their readiness allows principal actors to stay healthy and the show to go on without compromise. Whether or not they perform publicly, their work supports every rehearsal and every performance.

"The music in Hadestown is so beautiful, and some of my favorite parts are in the ensemble voices. Those moments of feeling connected to the group's collective voices during each song—on and offstage—make it all worth it."—Hayli Crandall, Swing

Understudies strengthen the entire production, adding resilience, depth, and professionalism. They do this not for the spotlight, but because they care deeply about the work, the team, and the story.

What Does It Take?

To be an understudy is to be trusted. It requires talent, discipline, adaptability, and the ability to remain composed under pressure. These artists must be multitaskers, quick learners, and problem solvers. Many of our youth performers are doing this for the first time—while also playing featured ensemble roles.

"From these hardships, I feel I have learned how to better organize my blocking in my script."—Matthew Vallero, Orpheus Understudy

"I truly love everything about Hadestown. It's my favorite show of all time, and Eurydice is my dream role, so I'm grateful to be a part of it and to have the chance to learn the role of a character I love."—Kelsey Kiehn Watkins, Eurydice Understudy

It's a high-wire act, and a powerful reflection of the story they're helping tell. In Hadestown, perseverance, love, and the courage to keep singing even when the path is uncertain are central themes. Our understudies live those values every day.

Honoring the Unsung

So when you see Hadestown: Teen Edition, know that behind every harmony, every step, every moment of storytelling, is the quiet strength of an understudy who helped make it happen.

They are storytellers. They are artists.

They are our understudies.

"We raise our glass to them!"