Review: HADESTOWN - Lyric Theatre (20/03/26)

With fresh faces at the helm, Anaïs Mitchell's musical masterpiece still soars high

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"Hadestown" is a musical that, in and of itself, has a history that spans now two decades, first premiering in Vermont during 2006 prior to a mini tour of Massachusetts, however the material showcased is millennia old. The success and popularity of the musical is not only a testament to the power of Anaïs Mitchell's retelling of these stories through her sumptuous New Orleans jazz-inspired score, but also to the enduring quality of these age-old tales that have survived the rise and fall of empires.

For the benefit of those who may not be familiar with either the musical or the ancient source material on which it is based, it melds together two stories from the Greek mythology back catalogue, telling of the tragedy of Orpheus and Eurydice, as well as the tumultuous relationship between king of the underworld Hades, and his wife Persephone, whose presence in either the surface world or under the ground controls the seasons. The focal issue is that the world is out of balance, and it's up to naive but well-meaning musician and lyre player Orpheus to write his musical masterpiece to bring the world back into tune.

Bethany Antonia, Clive Rowe and Marley Fenton (credit: Brinkhoff-Moegenburg)

Mitchell's reinterpretation of the original myths masterfully blends ancient tales with more modern social issues, exploring timeless themes of love, hope and the power of art, as well as more topical subjects of the climate crisis, and the unrelenting impact of capitalism. This all told through her gorgeous, evocative 1930s Louisiana jazz score, developed both lyrically and musically over the course of more than a decade and, even upon making its west end premiere in 2024, she still proves how fluid art in various forms can be.

On this evening, "Hadestown" celebrated its second anniversary in the west end, welcoming a handful of new recruits into the fold, including into all five principal roles, and I am thrilled to say they fit like gloves into this show that has captured the hearts of so many over the past two decades. Clive Rowe steps onto the stage and immediately, and authoritatively, takes the story by its devil horns, and draws us in magnificently with his old soul man characterisation of Hermes, revelling in flowing in and out of the action like a rattlesnake.

Taking on the role of Persephone, Rachel Adedeji's full personality is on display for all to see, with a fizzing, fiery performance that filled the stage, and glorious, full bodied vocals to match. Opposite her, our king of the underworld is portrayed with real power, yet a surprising tenderness, by Alastair Parker, showing a side to the character I had never seen before, and adding that extra degree of depth to an already thoroughly complex figure in both mythology and musical theatre. The chemistry between the pair is also absolutely stunning, as we feel every moment between the two, from their tempestuous bickering in "Chant", to their eventual, heart-melting reconciliation during the second act.

(L-R) Melanie Bright, Lauren Rae, Spike Maxwell, Alastair Parker, Rachel Adedeji (credit: Brinkhoff-Moegenburg)

Rising to the challenge, and heady vocal heights, of one half of our central protagonist pair, Marley Fenton's take on Orpheus adds real northern charm and wonderful humour, but also his versatile, marvellously graded vocal performance presents us everything from deep vulnerability to electric energy and elan; he is charismatic and self assured, whilst still maintaining the character's innate humility and innocence. Completing our incoming principal quintet is Bethany Antonia, who opens her approach to Eurydice as guarded, untrusting, even slightly standoffish, but it was wonderful to see her walls melt away as she became besotted with Orpheus, and then move into a state of defeatism once winter had hit. We feel every corner of her emotional spectrum, and though there was a slight nervousness to her performance, rather than this driving a wedge into it, it felt like it was used to enhance it, and add further layers to the character.

Joining our returning Fates Melanie Bright and Lauren Rae, it feels like Spike Maxwell has taken to their new role like a fish to water, blending superbly with their two counterparts, providing boundless character yet never feeling like they're stealing focus. It is always wonderful to see the three act as one, their characteristic individuality never distracting from how they, as a three-in-one unit, influence all of those around them, puling the strings like the puppet masters they are.

It is rare that you have such a beautiful equilibrium between all of the parts of the whole in a musical, but that's exactly what we have here, as each member of this new cast compliments the next sensationally well. "Hadestown" is a show that transcends simple musical theatre, as Anaïs Mitchell has created something soul stirring, mesmerising, and utterly transformative that will steal your heart away after having thoroughly shattered it into pieces. It's a sad song, but generations will delight in hearing it sung again and again.

★★★★★ (5*)

"Hadestown" runs at London's Lyric Theatre, currently on sale until the 13th of December (tickets)

{PR/Gifted Tickets}