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To make these points, “Hadestown” moves the tale to an earth that resembles sassy New Orleans, with hell a demonic foundry. As such, Ms. Mitchell’s score combines folk, pop and Dixieland with rhythmic work shanties and, for the lovers, ethereal arias. All of it sounds great in swinging arrangements for a terrific seven-piece onstage band.

Other than some reordering, that’s mostly just as it was three years ago — at least on the surface. But if there’s one thing this “Hadestown” is pushing, it’s the idea that what really matters is happening where you can’t see it.

Underneath the hood, a million small adjustments have been made, especially to the lyrics, which have shed some of their pop haze in favor of specificity. The Fates, a girl-group trio, now feel more integral to the action, not just witty commenters on it. And a new chorus of five hunky workers expands not only the sound but also the theme of security attained at the expense of freedom.

Yet the most obvious transformation is visual: “Hadestown” is now performed on a proscenium stage instead of in a miniature Greek amphitheater. Though still high-concept, Rachel Hauck’s single set depicts a recognizable idea of place: a basement jazz joint that miraculously turns into the furnace room of Hades’ factory. This is emblematic of the production’s choice to deliver the story to the audience in as close to the Broadway manner as the material can accommodate.

In truth, it can only accommodate so much. “Hadestown,” even with the heat turned up, is still a somewhat abstract experience, mediated by several layers of narration from Hermes, the Fates and many of the songs. A feeling is as likely to be described as enacted, and Ms. Mitchell develops her larger themes mostly through metaphor. This can get tiring; even though so much of what happens happens beautifully, I began to feel it would be better shorter.