The tragic Greek legend of young lovers Orpheus and Eurydice has inspired innumerable creations across all the arts: paintings and sculptures, ballets and operas. The 1959 film “Black Orpheus” reset the tale in the favelas of Rio de Janeiro and introduced Brazilian jazz to the world.

Anaïs Mitchell’s “Hadestown” reinterprets the story as a large-scale contemporary musical where the underworld is a walled city at the end of a long, lonely railroad. The town is populated by eternally indentured workers controlled by Hades, a cruel capitalist oppressor known in the original as the “God of the Dead” or “the Wealthy One.”

Through June 1, Mill Valley’s Throckmorton Theatre presents a stunning version of the show, part of a continuing series of “teen edition” productions of classic blockbuster musicals including “Chicago,” “Fiddler on the Roof,” “Les Misérables” and many others.

The chain of success remains unbroken with “Hadestown,” an effort so engrossing that it rivals the national touring production that landed in San Francisco several years ago. In fact, this “Hadestown” is better in several respects.

The Throck’s large cast occupies the entirety of the large stage, on an intricate and imposing set by Steve Coleman and Jean-Paul LaRosee. Hermes the messenger (Felix Maxwell on May 17, alternating with Reyes Lake) guides souls to eternal misery in Hadestown and also acts as narrator, explaining most of the plot for the benefit of the audience. Maxwell, one of the Throck’s veteran performers, is blessed with a superb voice and confidently strolled about the stage in a long tailcoat.

Costume designer Lyre Alston has done a marvelous job with all the performers’ apparel, from the simple overalls worn by Hadestown workers to the glamorous flowing green gowns of “the Fates,” a trio of goddesses who comment in song to Eurydice and Orpheus as their ill-fated love affair progresses. The otherworldly harmonies of this trio are merely one of many outstanding aspects of this production. (The trio last Saturday included Tallula Rice, Merrill Cover and Siena Wyman, with Claire Allen and Maddie Basich joining Merrill Cover on other dates.) The chorus of workers is fantastic, as is their dancing and singing, reminiscent of a gospel tent revival. Choreography by Gina Chapman and Erin Gentry is both inspired and inspiring.

Led by either Christina Howell or Kenji Higashihama, a seven-member band delivers immersive, pulsating tunes from the sides of stage rear. Lighting by Alyssa Saylor and sound by Ben Reese make significant contributions.

In Mitchell’s interpretation, Orpheus (a very likeable Parker Hall, alternating with Luca Cedolin) is a scruffy musician trying to compose a song that might uplift the entire world and win the heart of Eurydice. It’s a quest that infuriates Hades (Max Pigoski, alternating with Deven Reis), whose hegemony is threatened by the possibility of happiness. He keeps his virtual slaves in line with reminders that the wall surrounding them provides safety and freedom, and leads them in songs about it. If any of this sounds like blather from present-day world leaders, it’s entirely intentional.

Slowly emerging as a star of the show, Pigoski has an astounding bass-baritone voice and a relaxed confidence far beyond his years — a confidence shared by all the performers in this production, especially by Hannah Canin as the ingénue Eurydice (alternating with Riley Cover) and by Elyse Faherty as Persephone (alternating with Helen Kay), goddess of the seasons and Hades’ love interest. A senior at Tam High School, Faherty brings tremendous nuance to the role. Canin and Cover are also seniors at Tam. All are performers of deep experience, according to the show’s director, Reba Gilbert.

An unhappy outcome presaging “Romeo and Juliet” doesn’t diminish the impact of “Hadestown” — in fact, a coda at closing implies other possibilities while acknowledging unchanging human nature.

Despite its all-student cast, this big, sprawling but incredibly well-rehearsed and well-performed production is as far from a school play as you can imagine — and one that’s overcome adversity, too. In the week prior to opening, the Throck suffered the death of one student, and the musical director fell and broke her wrists, Gilbert said.

“It was a deeply felt and thoughtful journey both on and off the stage,” she said. “It was truly a feat to get back up and move forward. … I’m just so incredibly proud of this group of young artists for persevering and rising so high.”

Marin County’s entire artistic community will share this pride. Don’t miss “Hadestown.” It’s a fantastically engaging production.

Barry Willis is a member of the American Theatre Critics Association and president of the San Francisco Bay Area Theatre Critics Circle. Contact him at barry.m.willis@gmail.com.