Hadestown, currently running in the West End has replaced some of its cast members. It is a musical fusion of folk, blues and jazz that retells the ancient Greek myth of Orpheus rescuing Eurydice from hell. Set in a New Orleans style honky-tonk, and of course hell itself, the musical had its genesis in 2006 when singer-songwriter Anäis Mitchell had an idea for a melody while driving to a gig. A sung-through version of a more developed concept premiered in the very un-cosmopolitan town of Barre, Vermont and Mitchell next turned it into a concept album four years later. She next collaborated with director Rachel Chavkin and their full-scale production premiered in a small, off-Broadway venue in 2016. The show then transferred to Broadway in 2009 where it garnered eight Tony Awards. And finally, five years after that it opened at the Lyric Theatre earlier this year.
Despite this lengthy path to reach our British shores, the production unfortunately is a disappointment. There is not sufficient integration with all the stage elements to create a cohesive whole and so nothing really gels. The story itself does not have enough complexity and proceeds with an earnest intensity that soon loses any real impact. Nor unfortunately is there much chemistry between characters. It must be said that there were two understudies performing on the night I reviewed the show, which may have had an impact on that evening’s performance.
While the music can be toe-tappingly polyphonic in moments, the show runs at only two speeds — fast and funky, or emotively heartfelt. So, without much nuance from the script or the music, there isn’t ample richness or depth to the production.
Mitchell and Chavkin give all the main characters a good turn at a rousing number. Our MC for the evening is Hermes (Melanie La Barrie) who oversees the evening’s events in a stylish grey pants suit and sparkly waistcoat. Rachel Tucker as Persephone gets to strut her stuff in a lively number, Livin’ it up on Top, accompanied by the band’s trombonist. And the smarmy lothario Hades, well played by understudy, Christopher Short, powerfully sings about building a wall to keep out foreign enemies as if campaigning at a political rally, chillingly presaging the first Trump presidency. Orpheus (understudy, Simon Oskarsson), alas, is provided with tunes that limit his voice to a mournful falsetto accompanied by an electric guitar, Eurydice (Madeline Charlemagne) has a voice and presence that feel too soft for the character. The musical numbers are often energetic, but they become just an assemblage of songs rather than a holistic piece of musical theatre.
The show is supported by a small chorus – three women play the Fates who sashay and sing in and around the principals. The four male choristers (one a woman) are alternately customers dancing in the bar or are toiling in hell to create energy. But alas, the choreography is fairly unimaginative.
The set is a tiered set of stairs with a tight and finely tuned six-piece orchestra split stage left and right – and a drummer contributes his beat unseen behind part of the stage set. The costumes are fine, but like so much of the production, they seem too limited and unremarkable.
2 hours and 30 minutes, with one interval
Music, lyrics and book: Anäis Mitchell
Developed with and directed by: Rachel Chavkin
Scenic design: Rachel Hauck
Cast includes: Madeline Charlemagne, Simon Oskarsson, Melanie la Barrie, Christopher Short, Rachel Tucker