A stunning interpretation of bringing two Greek mythological stories to life that is filled with captivating performances.
I have to say it is an ambitious thing to do to bring two slight Greek mythological stories and decide to transform them into a musical – but thanks to Anaïs Mitchell’s gorgeous music and lyrics, new life is breathed into them and gives the characters extra depth to keep the audience invested in the story unfolding.
While it isn’t set in a particular place or time, there is a 1920’s speakeasy and New Orleans vibe to the production which works perfectly for the jazzy quality of Mitchell’s music and lyrics. The musical brings together the story of two very different couples: Persephone queen of the underworld for six months of the year alongside Hades along with the tragic love story of Orpheus and Eurydice – but with a distinctly modern twist. Orpheus is a penniless musician, his love of music and writing it sometimes blinding him to reality, while Eurydice is looking for food, warmth and security (enhancing the Great Depression influences that lie at the centre of this interpretation) that leads to her making a decision which in turn leads to the tragedy that many of us are familiar with.
Everything about this musical feels big, bold and brave – it is easy to see why it has created such a strong fan base. Basically sung through from start to finish (really appropriate given the importance of music in general is to the story of Orpheus), Mitchell has cleverly ensured that the character’s development is seen powerfully through the lyrics as well as their emotions, while also placing the women (somewhat overlooked in the original Greek myths) front and centre of everything. Some of the strongest moments feature the women – just listen to Gloria Onitiri’s as Persephone powerful rendition of ‘Our Lady of the Underground’ which is fierce and powerful, while ‘Gone, I’m Gone’ performed beautifully by Grace Hodgett Young as Eurydice knows how to pack an emotional punch.
Thanks to Rachel Chavkin’s steady and confident production, every emotion is built up beautifully as is the darkness that begins to take hold as the story deepens – particularly in the second act. Combined with Rachel Hauck’s impressive jazz club inspired set design (I also loved the way in which the journey to the underworld is created) and Bradley King’s striking lighting design,the audience does feel as though they are moving through two different worlds in a captivating way. You might know how the story ends but it is the way in which it unfolds that is impressive throughout and you never feel disengaged from what is happening.
Credit should also go to the onstage band who gleefully perform each number with great verve and there is a lovely moment in which their presence is deservedly acknowledged. They make it seem easy to adapt to each different genre of music that is incorporated and never falter from start to finish. Thanks to their performances, numbers such as ‘Road to Hell’, ‘Livin’ it up on Top’ and ‘Way Down Hadestown’ really stand out with great power.
Meanwhile, the cast deliver strong and confident performances that play plenty of attention to detail. Zachary James as Hades makes for an imposing character and it is clear that he really relishes playing Hades in every way – from the way he prowls around the stage to his incredible renditions of songs such as ‘Hey Little Songbird’ and ‘Why We Build the Wall’ with its hints of menace he is definitely a force to be reckoned with. Gloria Onitiri as Persephone also has a powerful presence about her that brings the character to life vibrantly, Grace Hodgett Young as Eurydice gives her character (who tends to be a little bit passive in the original story) a bit more oomph – wanting to take more control over her destiny and Donal Finn as Orpheus has plenty of charm. Melanie Le Barrie is clearly having fun as Hermes and makes for a charismatic and engaging narrator. There are also some lovely harmonies to be found thanks to the presence of Madeline Charlemagne, Allie Daniel and Bella Brown as the three fates keeping watch over every twist and turn.
Hadestown is certainly a welcome addition to the West End: bold, vibrant and captivating from start to finish – this is how to bring Greek mythology to modern audiences.
By Emma Clarendon
Tickets for the show are available here.
Rating: ⭐⭐⭐⭐⭐