If you studied Classics at university, you might know the Greek myth that Hadestown is adapted from. If, like me, you know nothing about this folk-opera-extravaganza of a stage musical, I’ll try not to give too much away. I go into the performance with my lens coloured by one question: could one enjoy this performance despite knowing nothing about the Greek story?
Knowing nothing about it has benefits; I’m surprised by the opening ‘audience participation’ vibe, which is slightly pantomimic. On the edge, at least, tonally. But then again, I’m allergic to pantomime. This is not helped by the general theatrical whiplash I get overall.
I love the way the band is integrated within the stage – there’s the piano, some very impressive percussion from Brad Webb, cello and bass, strings, and Daniel Higham brings understated class with the trombone. This immediately gives an experience that feels homely and intimate whilst still being very professional.
There is stand out narration from Cedric Neal’s Hermes in his sparkly waistcoat, complete later on with sparkly umbrella. His voice with riffs like Stevie Wonder, and I look forward to his parts bursting with charisma.
In fact, the entire experience is exquisitely cast. Desmonda Cathabel’s honeyed voice soothes my ears, and her Eurydice opposite the impressive falsetto of Scot Dylan Wood’s Orpheus was as believable a love story as it gets – without this, I think the adaptation by Anais Mitchell, Rachel Chavkin and Mara Isaacs would be nowhere near as impressive.
The trio of impeccably harmonies, often a Capella from Fate – played by Melanie Bright, Allie Daniel and Lauren Rae is magnificent, billowing in, in their summer dresses. Chris Jarman gives a mightily impressive Hades, and manages to bring the entirety of the performance back from panto, which is the hardest thing to do in such a role.
But for me, the stand-out performance is Victoria Hamilton-Barritt’s Persephone. There’s a surprising and charming deep husk to her voice that transcends eras.
In isolation each part is good, but some of the songs feel too long, and the transitions between feel like they could make better use of the lighting and staging. I want to feel like I’m in hell, and the lighting – although at times blinding the audience – isn’t as atmospheric as I would like. There is some choreography with props and chairs that doesn’t quite work, though the chorus is fantastic and are indeed the ‘hardest working chorus’ on stage. As a collective, they really shine like the rest of the cast. 5 STARS for the cast.
So in answer to my question; yes, you can enjoy this show. If you aren’t too concerned with staging, and want to see how a fantastic cast elevates, this iteration of Hadestown is the one worth seeing.
NEED TO KNOW: Hadestown is playing at the Lyric Theatre and booking until February 2026
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