The Unlikely Business Model of Hadestown: A Masterclass in Controlled Surrender

The recent box office success of the live capture of Hadestown has left many industry observers scratching their heads. How did this production, built over 19 years by Vermont folk singer Anaïs Mitchell, manage to outdo the likes of Hamilton? The answer lies not in the talents of its creator or the marketing muscle behind it, but in the unconventional approach Mitchell took to building her company.

Mitchell’s strategy involved handing control at every stage. She gave direction over to Rachel Chavkin in 2016 and orchestration to Michael Chorney and Todd Sickafoose. Producer Mara Isaacs was brought on board for commercial architecture. By doing so, Mitchell created an organization that was greater than the sum of its parts.

This approach is a direct challenge to the conventional wisdom that founder-led ventures require complete control and authority. Most founders struggle with letting go of control, seeing it as a sign of weakness or admitting defeat. But for Mitchell, deferral was a deliberate choice, one that allowed her company to adapt and evolve over time.

As entertainment and media management consultant Stuart N. Brotman notes, “Mitchell did not wait. She revised in public, in front of paying audiences, in six cities and three countries, surrendering a piece of control at every stage.” The results speak for themselves: Hadestown’s live capture opened on fewer than 2,000 screens and took in $10.2 million, the largest opening ever recorded for a filmed Broadway musical.

Its strongest per-screen results came from markets with no Broadway house at all – a testament to Mitchell’s willingness to test her product in different environments. This approach is not unique to the entertainment industry, but it’s a rare sight indeed.

The Hadestown story serves as a reminder that building a sustainable business requires more than just talent or marketing muscle. It requires a willingness to surrender control and trust others to carry the torch. Mitchell’s approach is not without its risks, but it’s also a testament to her commitment to her craft and her company.

Mitchell’s experience offers valuable lessons for entrepreneurs looking to build durable companies. By giving away control on a schedule, to people who have earned it, we may just find ourselves building something that will last long after our own involvement has ended. This requires patience – the hardest advantage for a competitor to replicate. But it also means avoiding the pitfall of founders waiting nineteen years for a market that never arrives.

As Mitchell’s story shows, controlled surrender can be a powerful business model in its own right. By embracing this approach, we may just find ourselves building companies that will still be earning in year nineteen – and beyond.