Now on Broadway, Anaïs Mitchell’s soulful folk opera of the Orpheus myth, beautifully directed by Rachel Chavkin, is no longer performed in the round—as it was when Chavkin first developed it for the stage, in her signature immersive style, for New York Theatre Workshop—but it’s still enveloping. (The new jazz-club set, with its fascinatingly versatile triple-turntable floor, is by Rachel Hauck.) The songs are gorgeous, the band is hot, and the lyrics are eerily apt for the times. André De Shiel