Main Stage Thespians: Hadestown: Teen Edition

In a week filled with community, workshops, and plenty of fun, Main Stage performances are yet another reason the International Thespian Festival (ITF) remains the premier celebration of high school theatre in the country. This year, one of Broadway’s most iconic and innovative musicals will make its ITF debut, as Thespian Troupe 2640 of Parker High School performs Hadestown: Teen Edition. With its bold storytelling, powerful music, and mythic roots, this production is set to bring the underworld to life in a way only student theatre can.

Ahead of their trip to ITF, Dramatics chatted with cast members Alexa Jensen (Persephone), Lucy Natale (Hermes), Jacob Schmaling (Hades), Reggie Steurer (Orpheus), and Sonia Tomasiewicz (Eurydice) to learn more about their show and experiences as they gear up for the big stage.

Compared to performing at your school, what’s different about preparing for one of the largest stages in school theatre?

Alexa Jensen, Persephone: Preparing for a performance on a larger stage brings a new level of excitement and nerves. While performing at our high school has always been a mix of emotions, the anticipation before opening night is even more intense now. All the months of rehearsals come together when the music starts, and we know we’re ready. Although the nerves can be overwhelming, the support from our teachers and fellow students helps to ease those feelings and makes the challenges feel more manageable. With a larger audience, we’re prepared to show them we belong on this stage, and I’m eager to be part of this once-in-a-lifetime experience.

Lucy Natale, Hermes: Performing at ITF is a whole different ball game compared to our school shows. The audience is bigger, the stakes feel higher, and there’s this incredible energy knowing we’re sharing our work with people who truly love theater. I had to shift my mindset from “this is just another show” to “this is a once-in-a-lifetime opportunity.” At first, that was a little intimidating, but I’ve learned to channel that excitement into my performance, instead of letting it overwhelm me.

Jacob Schmaling , Hades: Performing at my school feels like home—it’s familiar, comfortable, and full of people who have supported me from the beginning. But stepping onto a national stage is a completely different challenge. The space is bigger, the stakes feel higher, and suddenly, you’re aware this performance is part of something much larger than yourself. At first, that was overwhelming. But eventually, I realized it doesn’t matter how big the stage is; what matters is that I step onto it with honesty and commitment. Instead of trying to “fill the space,” I’ve focused on making my performance as raw and real as possible. The rest will follow.

Reggie Steurer, Orpheus: Before it was even announced that we’d made it, I was mentally preparing myself for the chance that we WOULD go. I took every ounce of feedback I got from the adjudicators and began implementing it into a plan. I worked with one of my choral directors and our guitarist on getting a video of strumming patterns for my songs, and although it’d be quite a large accomplishment to have learned guitar for this role, I can strum and fake a D chord! Another thing I’ve been working on is my lower notes. As a trans individual, my lower register is something I work very hard at. While I know there’s still a lot of progress to be made, I’ve seen significant improvements in my lower range throughout the years. [The cast] has been connecting more as time passes and we’re talking about everything that’s going to happen technically and physically with our show. Knowing all this months beforehand helps fit everything into my mental map, so we’re fully prepared come time for ITF.

Sonia Tomasiewicz, Eurydice: The biggest difference is the level of nerves I’m feeling. This is the biggest performance I’ve ever prepared for and it’s completely new territory too. Despite it being very nerve wracking, it’s also the most excited I’ve ever been for a performance. The idea of performing in front of a bunch of Thespians who appreciate theatre as much as I do is so wonderful and I cannot imagine a better place to be!

What aspect of your show are you most proud of, and why?

Alexa Jensen, Persephone: I take great pride in playing my dream role, Persephone. Ever since I saw Hadestown in New York City, I’ve wanted to portray this character. Amber Gray’s performance as Persephone captivated me with her energy and fun spirit. I never imagined I’d have the chance to play this character, especially with it being a new show on Broadway. By a stroke of luck, my school was granted permission to perform Hadestown, and not only did I get cast as Persephone, but now I also have the chance to perform this role on a major stage!

Lucy Natale, Hermes: I’m most proud of how I made Hermes my own. Since the role is usually played by an older man, I had to rethink how to bring him to life in a way that felt right for me. Instead of trying to imitate past versions, I leaned into my own instincts and energy, and it became something really special.

Jacob Schmaling, Hades: The way we’ve built something that feels alive. Hadestown is a story that’s been told many times, but what makes it special is the way each cast brings their own soul into it. Our production doesn’t just recreate the show—it breathes. It moves. It aches. It feels. I’m also incredibly proud of the dynamic we’ve built between characters, especially Hades and Persephone. Their relationship is one of power, regret, and love that’s been worn thin over time. It would have been easy to just play Hades as a villain, but our show digs deeper. There’s pain beneath his iron grip, and there’s a reason he clings so tightly to control. Finding those nuances has been one of the most rewarding parts of this journey.

Reggie Steurer, Orpheus: The dynamic our cast has created. Being that this will be the last time some of us perform together, we each truly put our all into it. Of our principal cast, we’re all seniors, which includes the fates. We sat for hours and worked on perfecting every corner of this show, developing deep connections outside of character to heighten our in-character performance. Our amazing ensemble sat at every rehearsal and even if they weren’t being utilized at the moment, were listening to the vocal tracks and singing along to their voice part, making sure they knew those harmonies inside and out.

Sonia Tomasiewicz, Eurydice: There’s a lot of stigma around teens performing shows with more “adult themes,” almost as if we’re not aware of them ourselves, but we really are. Lots of us in the cast are 17 or 18 years old, and we understand things better than adults sometimes think we do. Hadestown: Teen Edition has multiple underlying beautifully curated dark themes that I believe we handle with grace and honesty, which I’m just so glad to be a part of.

Any memorable rehearsal moments or backstage traditions that stood out to you during the process of mounting the show?

Alexa Jensen, Persephone: During our final rehearsal for Hadestown, we were all on stage together for a scene where Hades and Persephone dance. As a senior, it struck me that I was sharing this experience with a lifelong friend, Jacob, who plays Hades. We have played off each other throughout our high school years, and now we were about to perform this beautiful scene alongside our friends. It was a moment that left a lasting impact on me, and I cherish the time spent with all my friends.

Lucy Natale, Hermes: When we finally nailed the pacing of the show. Since Hermes is constantly moving things along, I had to figure out exactly how to keep things tight and engaging without rushing. It took some trial and error, but once we got into the rhythm, it was so satisfying. Backstage, we also had a little tradition of hyping each other up before big moments, which always made everything more fun.

Jacob Schmaling, Hades: So many. There were moments of exhaustion, moments of breakthrough, and moments of pure joy. But one that stands out is the first time we ran Why We Build the Wall in full. It was electric. Until that point, we had been running pieces of it, focusing on technical aspects, but that run was the first time we felt the full weight of the song. It wasn’t just music—it was power. The energy in the room shifted, and I remember looking around and realizing: this show is bigger than us.

Reggie Steurer, Orpheus: During the rehearsal process of “Chant,” me and our wonderful Hades had a really difficult time keeping a straight face as we walked around the turntable. We didn’t get the motor, or anything technically set up until tech week, so we were just stomping to the beat. We eventually got the hang of it, but it definitely took a few tries. The turntable itself was just a journey. I had a pretty good idea of what it was going to feel like once it was up and moving, but we didn’t have a whole lot of time to practice with it before lights went up. There were also days where it was offset, and it was a lot faster than we knew it to be. One night it even came unplugged halfway through act two. Luckily, we had our plan B in hand and were able to keep the show running smoothly.

Sonia Tomasiewicz, Eurydice: There was one night where we were all very tired, but our director Colin Swanson had us sit down after rehearsal and started saying how beautiful of a show we had put together and how proud we should all be. All our teachers chimed in too, and then students, and suddenly we were all crying. It was a moment I will never forget. I was sitting there looking around and just saw so much beauty. Beauty in the people, beauty in the show, beauty in the community. It really reminded me of the power of theatre.

Preparing a show is always a learning process. What’s been your biggest lesson throughout the process of prepping your show, applying for adjudication, and now being told you’re heading to ITF?

Alexa Jensen, Persephone: The importance of making the character your own by infusing it with your unique energy and style. Our cast and crew truly excelled in this production, and we owe our success to our incredible directors and the support we gave each other.

Lucy Natale, Hermes: To trust the process. From rehearsals to getting the news we’re going to ITF, I’ve realized all the hard work pays off, even when it doesn’t seem like it at the moment. It’s also taught me how important it is to embrace challenges because those are the things that make a performance stand out.

Jacob Schmaling, Hades: Trust. Trusting the work, trusting the process, and trusting that what we’ve created is enough. There have been moments of doubt—times where I questioned if I was doing justice to the role, or if our show would stand out among so many incredible productions. But I’ve learned that theatre isn’t about being “the best.” It’s about telling the story truthfully. I’ve also learned that theatre is never just about the final performance. It’s about the small moments—late-night rehearsals, deep conversations about character motivation, laughter over missed cues. It’s about the people. And knowing we get to share this experience with a national audience makes all that work worth it.

Reggie Steurer, Orpheus: Never doubt your art and who you are as a performer. I dedicated hours of time curating the personality I wanted to portray as Orpheus. There were specific vocal things I decided to incorporate because of the way it would drive the story. Having the vocal register I do, I wanted to bring power to those higher moments. During “Epic III” when I’m singing to Hades to convince him to let everyone go, I belt those high moments to bring power behind my message. All of this came with dedication to my choices and my character.

Sonia Tomasiewicz, Eurydice: To listen to your gut and really follow your instincts. I have a similar process as a show is getting started where I do mood boards, song playlists, just little things that bring my character to life. For Eurydice, I really trusted the work I put into it and allowed myself to try new things that felt right for her as a character, which ended up making some beautiful moments in the show that wouldn’t have happened otherwise. I want to thank Colin Swanson, too, for trusting me when I was trying new things. He allowed me to take this character where I wanted while also making sure it fit the vision of the show. Working with him felt like a collaboration, which is a beautiful thing.

What is your favorite moment in the show?

Alexa Jensen, Persephone: When Persephone sings “Our Lady of The Underground.” I love when she takes center stage to introduce the band. Her character is a joy to portray, and the song brings me so much happiness.

Lucy Natale, Hermes: When Hermes gets to fully step into his role as the storyteller. It’s such a rush to be the one guiding the audience through everything. But I also love getting to watch my castmates bring so much emotion to their performances—there are moments where I just stop and think, “Wow, I get to be part of this.”

Jacob Schmaling, Hades: There’s a moment in “His Kiss, The Riot,” where Hades fully realizes he’s lost control—not just over Orpheus, but over himself, over everything he’s built. He’s furious, he’s desperate, but there’s this split second where you can see the cracks in his armor. That moment, for me, is everything.

Reggie Steurer, Orpheus: This may come as a surprise, but my favorite moment is when I turn around to look at Eurydice. I wanted to take a different approach to the ending. During “Doubt Comes In,” I wanted to portray this sense of mental clouding. So much doubt has filled his mind, not about her, but if he is truly enough for her and if Hades would actually keep his word being the lord of the underworld. However, as he’s walking and making his journey, the real world starts to slowly fade into view. As he’s returning home, all that doubt sort of fades away and is replaced by feelings of pure euphoria. Acting this scene out gives me full body tingles, the range of emotions I experience all in a few moments.

Sonia Tomasiewicz, Eurydice: There’s one line Hermes says to Orpheus that’s one of the most beautiful things I’ve ever heard. “I’ll tell you where the real road lies, between your ears, behind your eyes, that is the path to paradise, likewise the road to ruin.” Anaïs Mitchell’s lyrics are some of the most beautiful poetry I’ve ever read. As performers, it’s not uncommon to stay in our heads, feeling as if we’re inferior, but as Hermes said, “that is the road to ruin.” When we remind ourselves, we are so beautiful, powerful, and deserving of great things, “that is the path to paradise.”

As a Thespian, what about this production makes you proud to share it with the ITF community? What do you hope the national audience remembers after the curtain falls in June?

Alexa Jensen, Persephone: I hope once the curtain falls, the audience will appreciate the hard work we put into this show. We rehearsed extensively to ensure it was amazing, and for us, it truly was. I want the audience to laugh, cry, and leave in awe, thinking, “I can’t believe this is a high school production.” I want the ITF community to know how honored we feel and to thank them for the opportunity to perform our version of Hadestown for them.

Lucy Natale, Hermes: I hope the audience walks away feeling the energy and passion we brought to the stage. If we can make them feel something—whether that’s excitement, joy, or even just admiration for the work—then we’ve done what we set out to do.

Jacob Schmaling, Hades: How deeply we’ve felt this story. We’re not just singing the songs, hitting our marks, or playing our parts—we’re telling a story that has existed for centuries, in one form or another, and we’re making it ours. When the curtain falls in June, I hope the audience remembers that Hadestown isn’t just about tragedy—it’s about resilience. It’s about love, art, and the stories we keep telling, even when they don’t have happy endings. I hope they remember the emotions we gave them, the world we pulled them into, and that for a brief moment, they truly believed Orpheus wouldn’t turn back. Because even if the story ends the same way every time, we still sing. We still hope. And that’s what makes it beautiful.

Reggie Steurer, Orpheus: I’m so entirely grateful that my castmates have this opportunity to showcase their brilliant talent. Each person who got on that stage had something to present. They have something to add to our show. This would not be possible without our crew, our ensemble, our dancers, anyone.

Sonia Tomasiewicz, Eurydice: I’m so proud of the overall impact Hadestown: Teen Edition has to share and when the curtain falls, I want the audience to remember that art reflects life.