Theatre Review: Hadestown, Lyric Theatre - Put simply, it’s a work of art.
Dónal Finn and Grace Hodgett Young in Hadestown. Image Credit: Marc Brenner.
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The tragedies and tales of Greek myth have held the hearts and minds of humanity for almost 3 millennia. It fascinates us and inspires us more than perhaps any other collection of stories ever have. And it is one of these stories that inspired Anaïs Mitchell almost 20 years ago to begin adapting the story of Orpheus and Eurydice into a musical. And if I could go back 2,500 years and thank Greek lyric poet Ibycus for setting their story in motion so that 2 and a half millennia later I could experience Hadestown, I would.
Hadestown is an exciting fusion of greek myth, the culture of New Orleans, Jazz and Folk music, and this energy is felt from the moment you walk in. With the band on stage throughout, and brilliant stage design by Rachel Hauck, you do feel as though you’ve walked in off Bourbon street to a smoky jazz club where the locals are ready with a story. And with multiple fourth wall breaks, it very much feels like they’re telling it to you, not at you. A quiet build, you don’t really notice the way you get pulled into the magic until suddenly it’s interval and you sort of wish there wasn’t one, you were so transfixed.
The show is packed full of characters you’ll know, even if you aren’t particularly well versed in greek mythology. Hades, Hermes, Persephone, they’re names we know and I think that’s part of why the show has a comforting feel to it, a familiarity and warmth. And there isn’t a weak link amongst the cast. Melanie La Barrie is extraordinary as Hermes, vocals so strong I almost doubt she’d even need a mic for her to fill that room with sound. Filled with confidence and swagger, she’s an ever steady presence as the narrator of the tale. Grace Hodgett Young is a headstrong, decisive Eurydice, but with a vulnerability that bubbles below the surface. Her vocal control is second to none, and it is absolutely no wonder she has had the start to her career than she has. Harmonies are pitch perfect from the three fates (Bella Brown, Madeline Charlemagne, and Allie Daniel), who are also packed full of sass and style. Despite being dressed the same, they each found ways to stand out within the unit.
A really interesting choice for this production, is that the actors all get to use their natural accent. It’s a minor pet-peeve of mine that when a show isn’t set anywhere specific or known, the default is to get everyone to do an American accent. The thing about Hadestown is that it’s set anywhere, it’s everywhere, it’s of this world and beyond, and the mix of voices conveys that perfectly. And it is absolutely inspired to have Orpheus played by an Irish man.
“Orpheus was a poor boy, but he had a gift to give, he could make you see how the world could be, in spite of the way that it is.” is a lyric from the song All I’ve Ever Known in the show. And when it was said, and I looked over at Dónal Finn, I just thought of course. Because if there has ever been a people who have been poor, hungry, and beaten down, and from that created beautiful song and melody, stories and poetry, art that moved millions, it’s the Irish. There’s a melancholy the Irish have (no really, google it, it’s a thing) (and also, I am Irish so I can say it) that just works for Orpheus. My heart ached for Dónal’s version of the character, and I got chills for the entirety of his Wait For Me.
The attention to detail in this production is exquisite. The use of lighting to create very intentional shadows on the plaster walls behind, at times the fates reminiscent of the muses dancing across the vase in Hercules. The choreography transitioning from a loose almost improvised feel, to lyrical jazz, to tribal influences as the tone of the show changed. A truly interesting use of a revolving stage at a time where so many productions seem to be using it as a gimmick, they use it with so much purpose that the show would lose a very special something without it. It’s masterfully put together.
I recently wrote a piece on how musical theatre has a problem with writing women. This production is the antithesis of that. In every way, this production is a testament to what happens when people say yes to new theatre. To creating new shows and experimenting with what musical theatre can sound like, can look like, can feel like. Put simply, it’s a work of art.
Hadestown is at the Lyric theatre, and is currently booking until 22nd December 2024. Book tickets here.