The Tony Award-winning musical “Hadestown” comes to the big screen as “Hadestown: The Musical,” a filmed version of the show, earns a one week theatrical run.

It’s a kind of whitebread New Orleans juke joint musical, a 1930-set retelling of the myths of Eurydice and Orpheus and Hades and Persephone, a sung-through (mostly) crowd pleaser in the modern fashion.

A very good original Broadway-leads/London production cast makes it come off, although non-theatre nerds may have some difficulty discerning what all the whooping and hollering over this simple if showy gesture or that big, belted anthem, courtship tune or menacing musical threat of a life enslaved in hell is about.

What’s undeniable is the musicality and musicianship of this piece of musical theater. The voices are grand, the on-stage band of seven — augmented by a fiddle here, an accordion there, played by singing cast members — can be lovely to hear and look at, even if the story leaves you as cold as it did me.

A regal André De Shields is Hermes, our “chorus” and MC for the evening, introducing the characters and playing his part in realizing or simply recognizing their Fates. Literally.

The “Road to Hell” is an “old song,” he sings. But it’s the “railroad line” that dominates the lyrics as he introduces The Fates (Bella Brown, Madeline Charlemagne and Allie Daniel), who participate, in a sort of “Watch your step” way, in the stories of Orpheus (Reeve Carney), a lilting, pop-star-pretty songwriter who wants to compose a tune “so beautiful it brings the world back in tune!” He also wants Eurydice (Eva Noblezada) the moment he sets eyes on her.

Her name has a whiff of “judgement” in its Greek translation. But that’s not what gets the attention of Orpheus.

“Come away with me!”

“Who ARE you?”

“The man who’s going to marry you!”

Interfering with that union are the machinations of Hades, sung and performed by the impossibly-deep-voiced baritone Patrick Page. With his “queen” Persephone (show stealer Amber Gray), he might sing Eurydice into taking up work in the “factory” of the underworld and signing on the dotted line.

If pursuing her after death is what it takes, and if you know your Greek mythology it is, sweet-voiced Orpheus will go down down down “Way Down to Hadestown” to try and fetch her back.

There’s a clever enough conceit to the book — the narrative — here. But the big themes of poverty, Satanic capitalism and the like didn’t really land for me. The love story is an unemotional non-starter. The tunes don’t ache or uplift. Not for me, anyway.

The songs are from branch of music I’ve loved forever, but they’re not exactly hummable, When every tune is put over in a sort of grandiose Patti-Lupone-as-“Evita”/Taylor Swift’s Greatest Hits fashion, it’s hard to gauge the place in the plot this song services as they’re all rendered as “showstoppers.”

Which suits Gray’s BIG turn and the voices of Page, Noblezada and De Shields, but the not the higher-voiced, not-quite-funny/never-really-“tragic” leading man.

The London audience for this certainly ate that up. The feel of the piece as performed is of an ambitious pop jukebox musical rendered in imitation blues, with no one song standing out as one you hum leaving the theater.

I like the cinematic approach of the filming and editing, catching close-ups, cutting to musicians for solos and the like. And I like musicals, even as I recognize that Tony winner or not, the true culture-shifting/Broadway-or-London-or-Paris theatre blockbusters are once a generation. This one is fun enough while it lasts (it’s overlong), but didn’t really stick with me past the closing credits.

“Hadestown” isn’t “Urinetown” or “Waitress,” but feels kind of forgettable the way too many shows “of their moment” do. It’s decently if not dazzlingly danced and well-sung. But it lacks the novelty, pizzaz and wit of “Hamilton.”

It does, however, have that “theatre nerds will love it” cachet, which had a hand in turning “Rent” into a phenomenon. And if you’re looking for an excuse to write off this review because you disagree with it, I wasn’t nuts about “Rent” either.

Rating: unrated

Cast:André De Shields, Eva Noblezada, Reeve Carney, Amber Gray and Patrick Page.

Credits: Directed by Brett Sullivan, staged by Rachel Chavkin, scripted and composed by Anais Mitchell. A Bleecker Street (CrossWalk) release.

Running time: 2:21