Shamefully (for me), it’s quite some time since I have been to the theatre. My sister Kat on the other hand has decided that this year would be her “theatre year”, and has been going to see local plays as well as West End shows at least once a month. So when she invited me along to watch the new play, Hadestown with her for her birthday, I quickly agreed.
To be honest we booked the tickets so far in advance I forgot the show we were going to see. Kat asked me the day before, if I had been listening to the soundtrack on Spotify to which I responded no. Ooops!
So anyway, I’m telling you all this because I arrived at the National Theatre in South Bank with an open mind, not quite knowing what to expect.
Anaïs Mitchell is the creative genius behind Hadestown. She wrote the music, lyrics and the book, which was then developed alongside director Rachel Chavkin into a musical theatre production. It arrives at the National Theatre in London off the back of a successful and critically acclaimed run at the New York Theatre Workshop and the Citadel Theatre in Canada, and guess what? It’s going to Broadway after London!
The play is based on the Greek myth of Orpheus and Eurydice. A myth that I have a very vague memory of, perhaps from school, but not significant enough to “spoil” the ending as it were! Those familiar with the myth will know that it isn’t a happy ending, whereas I on the other hand, let out a small yet audible gasp at the play’s conclusion!
I was so taken by Hadestown that I just had to write a review. It’s the first theatre review on my blog, maybe not the last, but I certainly felt I couldn’t let this experience pass without telling you guys about it! So let me cut to the chase. If you haven’t guessed already, I absolutely love this play! If I were in the business of giving out star ratings, I would give Hadestown 5 out of 5. I think everyone should try to see it in London or even when it goes to Broadway and…
I think every accolade ever bestowed upon Lin Manuel Miranda, should also be directed at Anaïs Mitchell as she is a genius human!
If that’s not enough to convince you, here are the reasons why I said what I said:
The Music
Hadestown was actually first written as a concept album by Anaïs Mitchell, released in 2010 to great acclaim. I’ve since listened to the album (quite a few times actually) and I can say that it’s bloody brilliant!! In the play, the musical style smoothly transitions between Folk/Americana, to New Orleans Jazz. I love the fact that the musicians are visible on stage adding to the Speakeasy type feel of the setting. The music and singing were pretty much constant throughout but it didn’t ever feel too much.
Stand out songs for me include, ‘Why we Build the Wall’ (more on this later), ‘Any Way The Wind Blows’ and ‘Epic III’ but honestly, all the songs are brilliant, and if you’re like me, you’ll end up listening to the cast soundtrack and singing them for days later.
The Cast
Can somebody say diversity?! This is what it looks like when a play is done right. What a beautifully racially mixed cast. Nothing more to say on that as to me it’s quite normal, or at least should be.
Each cast member was on the top of their game, exuberantly singing and dancing their way through the play. Brilliantly portraying their characters with such vibrancy and life.
Eva Noblezada who plays Eurydice shone within the role. Many times throughout her solos, I was moved to make that face you do when someone is serving pure vocals! More than once I had to refrain from shouting out “you better sing girl!”
Reeve Carney who plays Orpheus convincingly carried the role as the fated lover of Eurydice. Many of his vocals were set at the very top of his register, singing much of his songs in falsetto, which he pulled off really well, adding to the tender, artistic nature of his character.
Amber Grey who played Persephone was an absolute joy to watch. From her sashaying movements when she first enters the stage as the queen of the underworld bringing springtime and fun, to the song she sings at the end of the show that literally brought me to tears.
Patrick Page plays Hades, the god of the underworld who I can only describe as a Donald Trump type person but I suppose bit more likeable given his character arch. He had some great moments and I really did relish in the timbre of his bass voice.
André De Shields as Hermes holds the story together by being the knowing magical narrator of sorts. He came across like a wise old friend as he compassionately guided us through the highs and lows of the story.
The Fates played by Carly Dyer, Rosie Fletcher and Gloria Onitiri provided the hauntingly gorgeous 3 part harmonies that will simply make your spine tingle!
The Story
Despite falling in love during the happy summer seasons, once winter comes Eurydice realises that she cannot survive on the beautiful songs of Orpheaus alone. Wooed by the promise of work, food and warmth, she accepts a one way ticket to Hadestown where she soon realises that she’s made a mistake. In this industrial town run by the overlord, Hades, she is forced to work forever in the foundry. Once Orpheus finds out where his lover has gone, he makes the long and daunting journey to Hadestown to get back his girl. Meanwhile, Hades who over the years has grown rich and powerful finds himself trying to prove his love for his wife Persephone through the success he has built, whilst she finds it vulgar and distasteful. Their marriage has been on the rocks for many years, however inspired by the love Orpheus has for Eurydice, they ask themselves whether they should try again at working on their relationship.
Underneath these parallel love stories lies a remarkable social commentary on wealth, poverty, the haves and have nots, and the idea of freedom.
The introduction to Hadestown in the second half of the play comes through the aforementioned song “Why We Build the Wall”. It’s a call and response song where Hades stands front and center of the stage surrounded by his workers and apparently addressing us who would listen, like some sort of television rally. He asks, “Why do we build the wall, my children, my children?”, and as the song continues they respond, “Because they want what we have got, the enemy is poverty and the wall keeps out the enemy and we build the wall to keep us free, that’s why we build the wall…”
It doesn’t take very long to recognise this rhetoric within the post-Trump, post-Brexit world in which we live. However, what is most striking about this song is that Anaïs Mitchell wrote it over 10 years before the events of today and thus making it eerily prophetic!!
So that’s it! I hope this has been enough to convince you to try and see this show. Or if you’re like me, to try and ingest every piece of content there is on YouTube!
Now when my sister asks if I’ve listened to the soundtrack, I tell her I haven’t stopped!
Tickets for London are still available and can be purchased on the National Theatre Website.
If you’re also a fan of poetry, be sure to check out my talented sister’s website: www.katallthat.com
And finally if you’re a fan of Folk/Americana music, check out my spotlight on the incredible singer, Jade Jackson.
Nat xXx
