Hadestown, Lyric Theatre Review
Written by Emmie for Theatre and Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Hadestown has taken quite the journey to make it back to London this Spring. The show which started its creative process in 2006, was released as a studio album before becoming a more established show. Hadestown went on a tour in a school bus across Vermont, opened at the National Theatre in 2018, and then has had huge success on Broadway where it has ran for the last 5 years. Now on a train back to London’s West End, there was a lot of expectation riding on this one!
Hadestown has delivered something special this second time around in London. Directed by Rachel Chavkin, there has been a huge ability to showcase the rich talent and diversity that British performers have to offer - allowing each performer to stay true to their own accents. With Tony awards already under their belt, it wouldn't surprise me if the show becomes a huge hit at future London theatre awards too!
Hadestown is a captivating musical that intertwines elements of ancient Greek mythology and modern storytelling seamlessly. For those unaware of the context, Hadestown tells the stories of two mythic love stories written and performed throughout ancient Greece, both tragedies, though the exact stories have seen numerous iterations over the years. What they have not been before though, is interwoven and told together as one take, playing off one another in a beautifully balanced story. An important aspect that has been maintained in this performance is the honesty to the original stories, this is very much a tragedy, and those coming looking for a happy ending are likely to be surprised. Eurydice is an impoverished young woman finding ways to survive in a harsh world, Orpheus is a distracted lover, Hades resembles an industrialist Mafia boss, and Persephone dulls her pain by drinking from a hip flask but manages to maintain her individuality and Hermes is our storyteller throughout it all.
Hadestown isn't set in a specific time or place but Anaïs Mitchell was loosely inspired by the Depression era and New Orleans. That city's proud musical tradition oozes out of the musical score indefinitely and even if you don't know much about these stories, you can't help but be utterly captivated by every moment in this sublime production.
Read more: Interview with Zachary James, Hadestown
And then there’s the cast. Ever since they were announced there has been an undeniable buzz about them. Melanie La Barrie oozes so much passion as Hermes, she’s the perfect female to undertake the responsibility of this character (the second in the history of the show). Grace Hodgett Young is the perfect Eurydice, hot on the heels of her recent run in Sunset Boulevard - audiences can’t help but watch her performances in awe. Alongside her as Orpheus is Dónal Finn. The Irish actor carries a huge ounce of grace in his character and alongside Hodgett Young, this duo will continue to develop their chemistry as the run continues. Gloria Onitiri and Zachary James have a striking presence as Hades and Persephone. James’ rendition of “Why We Build The Wall” feels very Trump-esque but his delivery of the gorgeous low tones is enough to stun the audience.
The Fates help move the show along, as it is mainly sung through with very little narration - Allie Daniel, Bela Brown and Madeline Charlemagne are the perfect trio with the responsibility. They are a constant taunting presence to the characters and they have a fluid transition to the fore and background throughout, sometimes using their musical instrument talent to really emphasise the euphonious sound that vibrates around the Lyric Theatre.
The workers help to breathe some life into the scenes and this collective is a joy to watch (Lauren Azania, Tiago Dhondt Bamberger, Beth Hinton-Lever, Waylon Jacobs, and Christopher Short).
Not forgetting the whole delivery of this production in the details from David Neumann’s choreography, Rachel Hauck’s scenic design, Bradley King’s lighting design, and Nevin Steinberg & Jessica Paz’s sound design which collectively make Hadestown hauntingly beautiful to watch. The stage expands and becomes a huge vast space as well as a more intimate atmosphere with some smooth transitions that happen within seconds. The use of a revolve also adds depth to the development of the story and for me that really worked.
Another step in this musical’s journey, Hadestown is a sublime production that deserves its spot in London’s West End. It’s beautiful in its delivery, encouraging audiences to celebrate the value of hope and beauty. You don’t need to be a fan of Greek mythology to enjoy what Hadestown has to offer.
Currently booking at the Lyric Theatre until 22 December.
☆ ☆ ☆ ☆ ☆
