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[0:00] Mo Brady: You're listening to Way Down Hadestown, a miniseries from The Ensemblist, the only podcast that shows you Broadway from the inside out. Welcome back. I'm Mo Brady.

[0:30] Mo Brady: Hey guys, this is our miniseries from The Ensemblist, where we are speaking to the entire ensemble of a Broadway musical. Yes, there are only five of them, but we've sat down with each one of them to hear one-by-one what it's been like to be in the newest Tony Award winner for Best Musical. They share their thoughts about the characters they've created and the careers that got them there. John Krause made his Broadway debut in the company of Fun Home. Kind of, but we'll get to that later. He's toured with American Idiot and Wicked, as well as playing Drew in the Las Vegas sit-down production of Rock of Ages. John plays Worker No. 3 in Hadestown, as well as understudying the role of Orpheus. Here's our conversation. Hi, John.

[1:16] John Krause: Hi, Mo.

[1:17] Mo Brady: Will you introduce yourself and tell us what neighborhood of New York City you live in?

[1:21] John Krause: My name is John Krause. I'm an ensemble worker in Hadestown on Broadway, and I live up in Washington Heights, almost Inwood area.

[1:34] Mo Brady: When was the first time you heard about Hadestown?

[1:37] John Krause: Actually, I heard about it on a bus in Edinburgh, Scotland. I remember it very vividly because I was on tour with the non-union tour of American Idiot, and I was listening to Bon Iver. Spotify just, I think, was a very new app, and it said, if you like this person, you might also like... And it said Anaïs Mitchell, and I was like, who's this? What's she about? I fell in very quickly in love with her music, and then I listened to all of Hadestown because Bon Iver, Justin Vernon, is featured on it. He does all the vocals for Orpheus on there. I was like, this would make a great musical. And so I then heard rumblings of it in 2016, I guess, because there were readings and they were coming to Off-Broadway. I just knew that I had to be a part of it in some way if I could.

[2:32] Mo Brady: What was the first point that you were a part of the Hadestown family?

[2:36] John Krause: Just Broadway. Just Broadway. Yeah, I had an audition. It's really crazy how the time has... It really hasn't even been a full year, and how much it's changed my life. I auditioned in December of 2018, and then New Year's rolled around, and I hadn't gotten the job yet. And I was back in LA, where I'm from, and I got a call to come back to New York to do basically the same audition that I did in front of all the same people, kind of, but I think maybe a couple more producers were in the room. And then I got the job January 8th, I think it was, and then started rehearsals in February, and here we are.

[3:16] Mo Brady: That is such a fast turnaround.

[3:18] John Krause: It's really, really crazy. Like, what an emotional thing to go through on your, like, holiday break.

[3:23] Mo Brady: Absolutely, absolutely. Like, I was home with my family, and my fiancée and her family, we're all from Los Angeles, and part of me was thinking, you know, I've done some great tours, I've done a lot of great theater that I'm very proud of, but I really miss home, and I want to be home, and maybe Broadway isn't going to happen for me, because I didn't think I was the typical kind of, like, song and dance that Broadway needs or wants. But I always thought, if there's going to be a Broadway show for me, it's going to have guitar involved, and this kind of, like, tenor rock singing that I do, and lo and behold, here comes Hadestown.

[4:03] Mo Brady: So when you went in for the show initially, was it for an Orpheus cover?

[4:06] John Krause: Yeah, it was, the way it's changed is pretty remarkable, and I'm so grateful that it panned out the way it did. I went in for, it was originally, I think, the standby for Orpheus, so it would have just been, like, an Elphaba standby, like, just there to put on the green makeup and sit around. But then it became, over time, I think I had six callbacks, and it kept, every time I get a new one, it would say, like, ensemble, understudy, or offstage swing slash Orpheus. It kept changing, because I think they just needed to figure out the coverage, because it's such a specific show, now knowing, you know, what they need people to cover.

[4:37] Mo Brady: Tell me about Worker Number Three. Does he have a name?

[4:41] John Krause: He does have a name, actually. I'm sure a lot of people go through the process of finding a name for their character, but I've never really done that. If something comes about, and I feel a certain, like, that's great, but I don't, like, think, what did he have for breakfast this morning? Yeah, I don't go that deep. But Reeve, actually, in rehearsals, was like, do you have a name for your character? And I was like, oh, no. Do you want one? And he was like, well, we have this moment where I take his guitar from him, and he's like, I like to, if I have a moment with someone, I like to, like, call them by their name. And I was like, interesting. So I'm gonna, I just thought on it, and I came up with Jax, J-A-X, which is, my initials are J-A-K, so sometimes people have called me Jack in the past. But also, it reminds me of Ajax, which is another hero from Greek mythology.

[5:29] Mo Brady: That's great. All right, so. Okay, so Jax. Yeah. Are you Jax when you go to the Underworld?

[5:34] John Krause: No, and I think intentionally so, because in the Underworld, I don't think we have names. I think we're void of, we're definitely void of our souls and our personalities, so I think that devoids us of our names. And so I think definitely more apt is Worker 1, 2, 3, 4, you know? Spoiler alert, everyone's had different answers to those two questions.

[5:50] Mo Brady: Really? Yeah, yeah, yeah.

[5:52] John Krause: Yeah, and that's actually something that I really enjoy about this process, is that there was no strict guidelines for how to express ourselves as our characters. We were given a lot of freedom as ensemble members to find our way and find our place.

[6:06] Mo Brady: Is there one of the principal characters that you think Jax identifies with most in the show?

[6:12] John Krause: Yeah, it's hard not to identify with Orpheus. A, being as Jon, being the understudy, but also on stage, we back him up so often with our vocals and with our movement, and so we help create his imagery. You know, we move the tables and the chairs, and we help him walk across, and we pick him up, and we throw him around when we're the underground workers. So there's an attachment to his story more often than any other lead, I suppose.

[6:44] Mo Brady: Where does the top of the show take place?

[6:46] John Krause: We're definitely in a bar. We're in the bar that, because I don't know if you see on the set, there's like a list of drink specials.

[6:50] Mo Brady: No!

[6:51] John Krause: Yeah, so next time you go, it's above Robinson or whoever's playing bass, but Robinson Morse is our main bass player, and it's right behind him. So I guess maybe it's obstructed by his big upright bass, but there's drinks like the Snakebite and like Lover's Coral or something like that, and I think they change them every now and then. It's a fun little Easter egg, but we refer to the bar as Tipitina's because when Orpheus makes the flower out of the paper, it's got like an advertisement for music act coming to Tipitina's. We picture it being in this New Orleans bar, specifically New Orleans, because that's kind of just the jazzy vibe of the whole show, you know?

[7:35] Mo Brady: It seems like a busy show. Is it exhausting to do?

[7:39] John Krause: Yes and no. The way that it's structured, all of our big, energetic, difficult movement numbers are all in the first act, and they're kind of evenly spaced between some moments of quiet and rest. So there's maybe a 20-25 minute period where we are sweating, and we're really working our butts off. You're also wearing coats.

[7:59] John Krause: Coats and leather, and yeah. There's something about the show, and also about being on stage the whole time, and there's moments of us actually resting on stage. There's a connection that you feel to it that just invigorates you, because I've done shows where you're sitting backstage, and you're on your phone waiting for your next entrance, and that can really suck.

[8:18] Mo Brady: You did Tour of Wicked?

[8:20] John Krause: I did the Tour of Wicked, yeah.

[8:23] Mo Brady: And what was your track?

[8:24] John Krause: I was in the ensemble on Covered Fierro.

[8:28] Mo Brady: Sounds great. That's kind of just what I do now. That show, the ensemble is very present as well, but definitely I've never been in a show as present as this ensemble is. And so there were times, especially during Popular, the ensemble's just chilling. Then you've got to psych yourself back up and go and dance.

[8:42] Mo Brady: Riddle me this. This is not your Broadway debut. Is that right?

[8:48] John Krause: I know. It's a weird thing. Okay, okay, okay. Explain this, because in your bio it says your first original production. There's Fun Home, but then Playbill Vault doesn't say Fun Home. I'm confused.

[9:00] John Krause: I know. I'm very confused. So let's unravel this mystery. I technically understudied at Fun Home for three weeks.

[9:13] John Krause: I think the first time I heard about Hadestown was when I was in college. I was in a musical theater program, and I remember hearing about this new show that was coming out, and it was based on Greek mythology, which I was always really fascinated by. And then, of course, when it started to gain traction and I heard the music, I was just blown away by how beautiful it was and how unique the storytelling was.

[9:43] John Krause: I had the opportunity to see it in its early stages at New York Theatre Workshop, and I was just completely captivated by the world that Anaïs Mitchell created. The music, the lyrics, the characters—they all felt so rich and alive. I knew I wanted to be a part of it in some way.

[10:13] John Krause: Fast forward to the audition process, I was just so excited to even be in the room. I remember the first time I sang for the team, I felt this incredible energy in the room. It was like everyone was just as invested in the story as I was, and that was really special.

[10:33] John Krause: When I got the call that I was going to be a part of the show, it was a dream come true. I mean, to be in a show that not only has such a strong message but also showcases the ensemble in such a beautiful way is something I’ve always wanted to do.

[10:53] John Krause: Playing Worker #3 has been such a rewarding experience. The ensemble in Hadestown is so integral to the storytelling, and I love how we all get to support each other on stage. It’s a real team effort, and I think that’s what makes the show so special.

[11:13] John Krause: I also understudy Orpheus, which is a completely different challenge. It’s a role that requires a lot of emotional depth and vulnerability, and I’ve learned so much from stepping into that character when needed. It’s a beautiful journey to take on, and I’m grateful for the opportunity.

[11:33] John Krause: The music in Hadestown is just phenomenal. Anaïs Mitchell’s songwriting is so intricate and layered, and it really allows us as performers to explore different facets of our characters. Each song tells a story, and I love how we get to weave those stories together as an ensemble.

[11:53] John Krause: I think one of my favorite moments in the show is during the song “Hey, Little Songbird.” It’s such a poignant moment, and the way the ensemble supports the lead characters is just breathtaking. It’s a reminder of how interconnected we all are in the story.

[12:13] John Krause: The themes of love, loss, and hope resonate deeply with audiences, and I think that’s why the show has connected so well with people. It’s a timeless story told in a fresh and innovative way, and I’m proud to be a part of it.

[12:33] John Krause: I’ve had the chance to meet so many incredible people through this process, both on and off stage. The camaraderie within the ensemble is something I cherish, and I think it translates to the audience as well. We’re all in this together, and that energy is palpable.

[12:53] John Krause: I’ve been fortunate to have a diverse career in theater, from touring with shows like American Idiot and Wicked to making my Broadway debut in Fun Home. Each experience has shaped me as a performer, and I carry those lessons with me into Hadestown.

[13:13] John Krause: I think what makes ensemble performers so special is our ability to adapt and support the story in any way we can. We’re often the unsung heroes of a production, and it’s rewarding to see that recognition grow over time.

[13:33] John Krause: I’m excited for what’s next, both for myself and for Hadestown. The show continues to evolve, and I can’t wait to see how audiences respond to the new elements we’re bringing in. It’s a thrilling time to be a part of this journey.

[13:53] John Krause: Thank you for having me on The Ensemblist. It’s been a pleasure to share my experiences and talk about the incredible world of Hadestown. I hope everyone gets a chance to see the show and feel the magic for themselves.

[14:13] John Krause: I think it’s important for us as performers to continue to tell these stories and connect with audiences. Theater has a unique power to bring people together, and I’m grateful to be a part of that conversation.

[14:33] John Krause: I look forward to what the future holds, both for myself and for the ensemble. We’re all in this together, and I can’t wait to see where our journeys take us next.