From London to New York City, Jack Wolfe opens up about his journey to “Hadestown,” and the people who inspired him along the way.

Orpheus is a very vocally challenging role. How do you keep your voice in shape?

The music that [composer] Anaïs Mitchell wrote for Orpheus is really close to the music I listen to. The bands and singers I look up to are in that indie folk genre, so getting to sing that style fits me well. My last role, Gabe in Next to Normal, was more of an athletic challenge vocally. With this style, I can give more thought to the clarity of the story, making sure everything is understood, and try not to worry as much about the aesthetics of my voice.

I have two incredible singing teachers. I have one in the UK, Sam Kenyon; he has been my vocal coach for years on different projects. Here in New York, I’ve been working with Mike Ruckles to make sure that everything is sustainable for eight shows a week.

There’s an actress in London, Georgina Onuorah, and she said something that changed things for me: calming down, chilling out, and relaxing are just as essential as physically warming up. Her warm-up seems to be about releasing tension, about mentally letting go. Trusting your work, your warm-up, your vocal coaches, your body, and just enjoying the show is key.

There are so many incredible musical moments in Hadestown. Is there one you look forward to every night?

I really love performing “Epic III.” I love the vulnerability of it — it’s a wonderful dramatic moment to inhabit. It’s had many rewrites, and the version we landed on is different from the one I listened to on the concept album. It’s really exciting to sing something so fluid and changeable.

Also, anything I get to sing with Morgan! Morgan Dudley [Eurydice] is one of the most wonderful artists I’ve ever met and worked with. I literally pinch myself every day that I get to do this with her. I feel like any decision I’ve made about Orpheus comes from what she’s given me onstage. She’s such a force, and her voice is astounding.