Now this is a show that I have been dying to see for many years since it first arrived in the UK via the National Theatre in the 2018/19 season after success in Broadway. Hadestown is a show born from the mind of Anaïs Mitchell, with her credited for music lyrics and book, and is a retelling of the tragic story of Euridice and Orpheus. I first listened to the music in 2019 and have been obsessed with it ever since, so I am surprised it has taken me so long to get to the West End to watch it.
With listening to the soundtrack of a musical prior to seeing it, it can sometimes provide you with false hope. Perhaps you will watch the show and find it isn’t what you thought it would be or maybe the singers don’t deliver the crisp vocals you heard on the studio version. However I am very pleased to say that for Hadestown this did not happen to me and infact, quite the opposite, this show exceeded every expectation I had. I must say, this show is probably one of the best musical you will watch on the West End (Hamilton is still running 😉 ).
I enter the lyric theatre expected a barren stage and instead I am met with the whole cast, already in character, sat amongst the wonderful set designed by Rachel Hauck. The stage resembles a bar or a pub and is a semi circle with the musicians and ensemble when not performing located around the outer edge on steps. The ensemble and cast rarely leave the stage throughout, simply sitting down and listening to the rest of the tragic tale.
Anaïs Mitchell’s decision to have Hermes as our narrator, taking us through the intertwined romantic tales of Eurydice and Orpheus and Hades and Persephone is very enjoyable. Hermes implores Orpheus and Eurydice to bow before the audience and Hades from his seat on the balcony gives and evil grin. The first number (Road to Hell) quickly settles us into the storytelling style with lots of fourth wall breaks however it also establishes the sensational vibe and genre of the music, which is good old jazz!
The show begins and we see the trombonist rise from his seat and play a spectacular riff to get us going. The band are sat on stage and the actors interact with them throughout and I have to say it looks like a very fun gig to get! The music morphs and changes, with Mitchell’s intelligent compositions often incorporating riffs into songs to connote the different setting of the story. The whole soundtrack is just brilliant and the band on the night I saw it played it with ease and perfection, it is one of the main elements that makes Hadestown such a triumph.
In a time where everyone believes musicals are full of cheesy lyrics and over dramatised acting, this show is a breath of fresh air demonstrating some of the finest acting through song I have seen. Mostly from Marley Fenton who played the role of Orpheus, at the start of the show Marley sang mostly in falsetto portraying Orpheus’ innocence however as we progress and he journies to Hadestown to find his true love Euridice we begin to hear his voice morph. I actually got emotional during Epic III where Orpheus convinces Hades to allow him to leave, Marley sang this song so beautifully and he even begun crying during it which was very powerful. I additionally adored Bethany Antonia as Eurydice whose chemistry with Fenton was very apparent and she displayed the torment of love but also her need for food which Hades provided.
I believe one of the hardest roles to play in this show is Hades, particularly because it was originated by Patrick Page who sung most of the songs in a very low and gravely tone. Ever since the soundtrack has been released I feel people expect to hear this gravel and grit from Hades, so when Alistair Parker diverted from just copying Page’s interpretation and sung in a very rich Yorkshire accent it was so gladly welcomed. Parker has a deep and booming voice, very apparent during the Act I finale ‘`Build A Wall’. However, again like Orpheus he too goes on a journey of love and Parker represents this via his vocals as they slightly soften towards the end as he has been reunited with his wife once more.
Clive Rowe is absolutely born to play Hermes with his amazing vocals and loud delivery, he acts as our guide through the tragic tale. I love how he interacts with the band and actively encourages the trombonist to rise and join him at the front of the stage.
The stage also plays a part in one of the most iconic scenes of the story, Orpehus’ challenge to walk all the way without turning to look at Eurydice. As ‘Wait for me” begins to play the stage spins like a turntable and we watch as he struggles, as the music swells triumphantly and the audience waits and waits until… he turns.
As Hermes tells us at the end, it is a sad song from way back when but regardless, we are going to tell it again. That is what Hadestown is about, no matter how you tell the tale it always ends the same way, Orpheus turns and whilst it is sad it is a story of love and bravery. Mitchell’s orchestration and the way the action unfolds is utter theatre magic and for 2 hours of my life I was fully immersed into the tale of Orpheus and Eurydice.
MY VERDICT:
Every expectation of this show was exceeded, it brings Mitchell’s magic music to life in a grand and theatrical fashion that means it has been gifted with a long lasting residency in the West End. You can’t help but feel the energy and passion from all performers whether that be the musician, the main characters and especially the multi-role ensemble despite them performing it every single week. A new cast are meant to be coming into place this week but I think that regardless of specific actors, the stage and core remains the same.
Hadestown is an absolute example of minimalist staging and authentic choices working on a grand level. It is certainly a production that isn’t for everyone but if you enjoy good old fashioned storytelling, powerful vocals and an incredible score, come on way down to Hadestown!!!
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