Jack Wolfe’s Broadway Debut in “Hadestown”: The Unexpected Cosmic Collision That Left Him Starstruck and Us Begging for More!
Added on December 22, 2025 inMusic News Cards
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Ever wonder what it takes to nail a role as vocally demanding as Orpheus without sounding like you gargled gravel all day? Well, today’s planetary lineup—Mercury doing its little cha-cha with Neptune—makes you think about the delicate dance between precision and soulfulness, doesn’t it? Orpheus, in Anaïs Mitchell’s world, isn’t just a character; he’s a musical puzzle that fits snugly into the indie-folk groove, the kind of sounds you’d hum on a lazy Sunday but with a complexity that trips even the toughest vocal cords. It’s fascinating—our lead doesn’t just warm up the pipes by hitting the usual scales but taps into mental zen, much like a star crossing into a calm, reflective constellation. Between trusted coaches spanning two continents and the secret sauce of chilling out (yes, letting go is part of the gig!), this performance becomes more than just vocal acrobatics—it’s storytelling with every note. And if you think that’s cool, wait ’til you hear about the nightly thrill of “Epic III” and the magical chemistry with Eurydice’s voice that truly makes the stage spark. Ready to dive deeper? LEARN MORE.
Orpheus is a very vocally challenging role. How do you keep your voice in shape?
The music that [composer] Anaïs Mitchell wrote for Orpheus is really close to the music I listen to. The bands and singers I look up to are in that indie folk genre, so getting to sing that style fits me well. My last role, Gabe in Next to Normal, was more of an athletic challenge vocally. With this style, I can give more thought to the clarity of the story, making sure everything is understood, and try not to worry as much about the aesthetics of my voice.
I have two incredible singing teachers. I have one in the UK, Sam Kenyon; he has been my vocal coach for years on different projects. Here in New York, I’ve been working with Mike Ruckles to make sure that everything is sustainable for eight shows a week.
There’s an actress in London, Georgina Onuorah, and she said something that changed things for me: calming down, chilling out, and relaxing are just as essential as physically warming up. Her warm-up seems to be about releasing tension, about mentally letting go. Trusting your work, your warm-up, your vocal coaches, your body, and just enjoying the show is key.
There are so many incredible musical moments in Hadestown. Is there one you look forward to every night?
I really love performing “Epic III.” I love the vulnerability of it — it’s a wonderful dramatic moment to inhabit. It’s had many rewrites, and the version we landed on is different from the one I listened to on the concept album. It’s really exciting to sing something so fluid and changeable.
Also, anything I get to sing with Morgan! Morgan Dudley [Eurydice] is one of the most wonderful artists I’ve ever met and worked with. I literally pinch myself every day that I get to do this with her. I feel like any decision I’ve made about Orpheus comes from what she’s given me onstage. She’s such a force, and her voice is astounding.
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