Hadestown at Lyric Theatre

After a victorious run on Broadway, this Ancient Greek myth-turned-musical has eventually found its way to the West End, emerging as an award-winning, astounding success. A retelling of the infamous tragic love story Orpheus and Eurydice, Anaïs Mitchell’s folk-opera relishes within this rich history, spinning a tale of doomed lovers and relentless hope.

The Fates (Bella Brown, Madeline Charlemagne and Allie Daniel) have been unkind to Eurydice (Grace Hodgett Young), a paradox of both beauty and tragic circumstance. Enter our dashing dreamer Orpheus (Dónal Finn), whose staple lyre has been replaced with a swanky guitar, but whose melodic voice can still charm any being. In this post-apocalyptic world suffering from poverty and famine, Eurydice is enticed by Hades and ultimately finds herself condemned to a life of isolation and slavery in the underworld. Refusing to abandon his love, Orpheus setting off down the railroad track to the bottomland to plead for her release.

The stage set is grand yet simple, allowing the three revolving turntables which rise and fall to take centre stage. The cast physically descend six feet under as Orpheus embarks on his long trek way down to Hadestown. Once we fall into the underworld, the stage cracks into three allowing blinding yellow light to flood into the auditorium, forcing the audience to shielded their eyes from the burning industrial furnaces of hell.

Director Rachel Chavkin reminds us that this musical is poetry not prose, therefore this set seems fitting, relying on the spectators’ creative power to conjure the vastness of scenes just as myths rely on imaginative storytelling to solidify them into reality.

The jazz band fill the peripherals of the stage. Inspired by the Great Depression and New Orleans, multiple tracks are oozing with trombone, twin strings and percussive guitar. Contrasted with beautifully dramatic and romantic numbers such as Wait for Me, this score is both thrilling and deeply emotional.

Zachary James, the one American amongst the cast, is menacing as Hades, looking sleek and sharp in black leather and a 1920s gangster-style pinstriped suit. His unhealthy obsession with wall-building, as elaborated within Why We Build the Wall, echos Trump’s militant and extremist approach to boarder control. Hades rules his damned land as a churning workhouse. The factory floor is filled with the internally cursed, dressed in oil stained clothing and void of any individuality. The smoke billowing from heavy machinery and burning fossil fuels engulfs the stage as David Neumann’s captivating choreography drives along a jarring production line.

Contrasted with the bringer of spring Persephone, Gloria Onitiri brings glamour to the underworld, whilst our guide Hermes (Melanie La Barrie) accompanies us on this journey with abundant flair. The Fates slither across the stage as a three-headed snake, waiting to strike when you’re not looking.

Mitchell has not only attempted to render the song which could change the world, but has succeeded in reviving an antiquarian myth which has stood the test of time with audiences. Yet, throughout the course of the tales countless reiterations, its core message remains unchanged: we must never stop fighting for positive change, despite knowing the ending. Although success isn’t a given, its possibility makes a story worth retelling.

Olivia Gardener
Photos: Marc Brenner

Hadestown is at Lyric Theatre from 23^rd February until 22^nd December 2024. For further information or to book visit the theatre’s website here.