As the winner of 8 Tony Awards including Best Musical and Grammy Award for Best Musical Theatre Album, Hadestown has gathered an enthusiastic fan base since its Off-Broadway premiere in 2016.
There’s good reason for that with its pulsating, vivid and varied musical beat. Just as rewarding is its absorbing complexity that makes tantalising and thought-provoking musical theatre.
At Saturday evening’s Melbourne premiere it wasn’t, however, such an easy ride along the way before being won over. A couple of factors may account for that – which will come – but what mattered in the end was the depth of soul, talent and entertainment Hadestown fires off.
American singer-songwriter, musician, and playwright Anaïs Mitchell is the artistic genius behind the work with music, book and lyrics to her credit.
Mostly sung through, with guiding narration taking a front seat, Mitchell’s Hadestown has the flavour of a themed staged concert in its realisation by director Rachel Chavkin whose original Broadway production is handsomely presented by Opera Australia and JONES Theatrical Group.
Hadestown takes its inspiration from and intertwines the two ancient Greek myths of Orpheus and Eurydice and Hades and Persephone. Orpheus, a poor musician in love with Eurydice, journeys to the underworld to rescue her.
Eurydice has sought security in Hadestown, a harsh industrial realm, just a train ride from the rigours of life, but ruled hellishly by a glittering stripe-suited Hades whose estranged wife Persephone longs for balance and freedom. As Orpheus sings to reclaim Eurydice, their love is tested by doubt and fate.
Emcee-like, popular Australian singer-songwriter and actress Christine Anu narrates as a dazzling and stylish Hermes (known as the messenger of the gods). But narration is heavily used – particularly in the first act – at the expense of emotional depth and Anu’s inconsistencies in style tend to interrupt the flow. Vocally, however, she’s a thundering performer with songs rich in swagger including the opening number, Road to Hell.
As a dreamy, youthful Orpheus with heart on sleeve, Noah Mullins brings robust sensitivity to the fore. A wavering falsetto put Mullins on rocky ground early on but, by Act 2’s start, a much more grounded performance ensued.
Covering Abigail Adriano on opening night, Eliza Soriano’s strong headed Eurydice is a loveable little live wire who packs a punch with her sweet, mellifluous voice. Best of all, she and Mullins share a lovely chemistry that develops convincingly to reach a show highlight in Act 2 as their commitment to walk out from Hadestown together coruscates in the touching duet, Promises.
Versatile, rumbling bass-baritone Adrian Tamburini’s impressively portrayed Hades drips with forbidding authority and effortlessly lets you know what you’re dealing with in his realm.
That couldn’t be more striking than when Act 1’s concluding Why We Build the Wall pounds the air and delivers its misguided message of freedom as, what could be called, dictatorial isolationism – in today’s world now feeling more like Trumpism. Thereon, the show comes together searingly and affectingly.
As a stunningly rich-voiced and vivacious Persephone, Elenoa Rokobaro is a shining stage presence while Sarah Murr, Jennifer Trijo and Imani Williams are a show within a show with their gorgeously harmonised singing and choreographed synchronisations as the story’s portentous Fates.
There are flavours of New Orleans-style jazz mixed with contemporary folk in Mitchell’s appealing and feeling-infused music.
The sense that a little Southern Gospel sounds are also present even seem to match thoughts that Rachel Hauck’s scenic design reflects a combination of music hall and sacred space with its apse–like shape, symmetrically stepped platforms, where the band take their place, and a balcony above – altarpiece-like – with dramatically dynamic lighting by Bradley King.
If that thought is extended, Hermes presides over this performance bellowing out and setting in motion the musical’s themes of love, sacrifice and hope in the face of despair like a pastor overseeing a boldly executed ecumenical ritual and play.
Enhanced by touches of steampunk aesthetic via Michael Krass’s costumes, a small ensemble that adds muscular choreographic richness and a thrilling sounding band under the musical direction of Laura Tipoki, it all eventually adds up to a dark and entertaining night in Hadestown.
Oh, and if you miss Griffin Youngs pumping energy and acrobatics on jazz trombone, you’ll have missed several brilliant highs in life.
Hadestown
Her Majesty’s Theatre, 219 Exhibition Street, Melbourne
Performance: Saturday 10 May 2025
Season continues to 13 July 2025
Bookings: www.ticketek.com.au
For more information, visit: www.hadestown.com.au for details.
Images: Noah Mullins as Orpheus and the Cast of Hadestown – photo by Lisa Tomasetti | Christine Anu as Hermes and Elenoa Rokabaro as Persephone in Hadestown – photo by Lisa Tomasetti | Adrian Tamburini as Hades and the Cast of Hadestown – photo by Lisa Tomasetti | Sarah Murr Imani Williams and Jennifer Trijo in Hadestown – photo by Lisa Tomasetti
Review: Paul Selar