Review: HADESTOWN, Lyric Theatre
Marc Banner
Occasionally a show drums up so much hype that you can literally feel theatrical tremors of anticipation throughout London, this week one of those very shows had its opening night. Last night we headed way down to the West End to see the show that the theatre world has been more than a little excited for. That’s right besties, It’s Hadestown!
The jazzy brain child of Anaïs Mitchell, Hadestown is based on the Greek tales of Orpheus and Eurydice and the show has had well over a decade journey that has seen it have successful runs at the National theatre and then on Broadway where it quite nearly took over the TONY’s. A surprising smash. Set against industrial dystopian back drop, in a world of famine and poverty, the story follows Eurydice (Grace Hodgett Young) a young hungry girl who wonders into a back alley bohemian bar where she meets Orpheus (Dónal Finn) a dreamer who claims he is going to write a song so pure, so perfect, that it will make Spring come again. The quickly fall in love, but with everyone struggling to survive, in time, with love not being enough to sustain her, Eurydice heads straight to hell and is lured into working for the oppressive Hades, our story then follows the heartbroken Orpheus as he takes the long path to the underworld to win back his love.
Grace hodgett young a rising star in the musical theatre work was the perfect casting as Eurydice, bringing a real charm and relatability to the character with a stunning voice to boot.
Dónal Finn transcended as Orpheus with a voice that could only be described is iconic. You could hear a pin drop in audience very time he started singing. Truly a voice that travelling bards would tell tall tales of and the complete star of the show.
Other notable Performances were Zachary James as the torn and slightly tyrannical god of the underworld Hades, with a striking presence and the rumbling voice of bubbling volcano, and Gloria Onitiri as Hades achilles heel, the golden throated Persephone. They make a make a delectable duo and both deliver deity worthy performances.
A show is nothing without its cast and every member of the cast and band give everything to their performance, which is what truly makes this show shine, from the workers who are a constant brooding presence on the stage to the band who gives the show the vibe of a slum like speak easy. The narration is succinct and slick, so slick that if your mind wonders for a moment looking around the stunning set created by Rachel Hauch, then you will have to seriously concentrate to catch up with the story. This is definitely a show you could watch three times and still be thrilled to hear new words, new tid-bits of genius, and that’s what this show is, Mitchell has crafted a tale that lyrically narratively can stand its own with the likes of Hamilton and that is high praise!
Speaking of narration Melanie La Barrie is wonderful as Hermes, the narrator of our tale, weaving through the story effortlessly in a suit that shines as bright as her performance.
Though it feels like we are slowly going through the whole cast, we cant finish this review with mentioning the performances of the Fates (Allie Daniel, Bella Brown and Madeline Charlemagne) who are a constant stream of spine tingling harmonies throughout the show, we have to say it…..Schuyler sisters move over, there’s a new trio in town and they aren’t playing around.
One thing that really…well..shone… about the performance was the lighting. There is a moment towards the end of the first act during the number ‘wait for me’ where the lighting design from Bradley King quite literally took our breath away.
There is something for everyone in this show and it needs to be seen to be truly appreciated. Mitchell along with the shows director, the visionary that is Rachel Chavkin have showcased a Masterclass in how to craft a piece of theatre.
Hadestown is a spectacle, its unique, it’s unapologetic…It’s a must see.
Spring will come again, and Hadestown is the show to bring it back in spectacular fashion.
**** Four Stars
Reviewed by - James Edge
