At a time when political upheaval, the death penalty and workers’ compensation rights are more contiguous than ever in recent memory, The Joe Hill Revival seems almost like a necessity for contemporary theatre. An interpretation of the life and death of the Swedish IWW songwriter and activist, whom many believed was unjustly executed for the murders of two men, the play carries a vigorous concern for change, but communicates it in a language that attempts to resonate with today’s audiences. The play takes a Hamilton-approach to the material by casting a wide-range of ethnicities (i.e. Joe Hill is played by African-American actor Aaron de Rose) and using contemporary music.

It all sounds great on paper, but the play runs the risk of being too hagiographic towards its subject. With its gallant aspirations and unwaveringly uplifting tone, it can also feel a bit unbalanced and undernourished in showcasing the horrors that these people faced, and as catchy and uplifting as the music can be, the proliferation of such songs can feel closer to smarmy than potent.

Still, The Joe Hill Revival undoubtedly took the correct path in fleshing out some more things about its subject. In the century since Joe Hill’s death, we’ve discovered that the debated romantic rivalry he had with the man who shot him was true, with Molly Bremer giving one of the most palpable performances in the production as his love interest, Hilda Erickson. The Joe Hill Revival might be a mixed bag, but its themes and historical relevance surpass its presentation.