Venue: Theatre Royal (Sydney NSW), 12 Feb – 26 Apr, 2025
Music, Lyrics & Book: Anaïs Mitchell
Director: Rachel Chavkin
Cast: Abigail Adriano, Christine Anu, Noah Mullins, Sarah Murr, Elenoa Rokobaro, Adrian Tamburini, Jennifer Trijo, Imain Williams
Images by Lisa Tomasetti
Theatre review
In Hadestown, the musical retelling by Anaïs Mitchell of an ancient tale, Eurydice makes a deal with Hades for food and shelter. Even though she remains alive, Orpheus’ journey is no safer, as he ventures into the underworld trying to rescue his love. Having the spectacular Greek legend as a basis, means that this 2019 Broadway production contains all the ingredients for something not only fantastical but also sentimental, especially with Mitchell’s excellent song writing offering vivid access to the emotional dimensions of this complex story.
Director Rachel Chavkin’s staging is often mesmerising, delivering magical imagery that helps our consciousness traverse the bridge between reality and fantasy, to meaningfully encounter the supernatural aspects of Hadestown. Musical direction by Laura Tipoki bears a valuable idiosyncrasy that encourages us to respond with a commensurate sense of whimsy, but some of its execution can feel slightly restrained and sterile.
Playing the lovebirds are Abigail Adriano and Noah Mullins, both commendable for their visibly rigorous investment in the central romance. They bring a believability to the show, derived from their realistic portrayals of sheer humanity. Hades and Persephone are less compelling, as performed by Adrian Tamburini and Elenoa Rokobaro who exhibit technical proficiency, but whose portrayals of larger than life personas, feel somewhat superficial.
As Hermes, Christine Anu impresses with her unmitigated soulfulness, carried through voice, face and body, to make the truth resonate, in the midst of distracting frivolity. Fate is represented by the exceptional trio of Sarah Murr, Jennifer Trijo and Imani Williams, who demonstrate astonishing artistry and cohesiveness, in their embodiment of what is certainly one of the production’s most memorable elements.
In Hadestown we observe a love story, as well as a story about power. Hades could easily have orchestrated the union of Eurydice and Orpheus, but he chose not to. We are capable of cruelty as much as we are in need of tenderness. Humans are a myriad of shifting things, but a constant seems to be that we are contradictory. We have all seen the face of peace and love, yet the part of us that insists on jeopardising all that is good, seems always to be rearing its ugly head.
Suzy Goes See 