Review by Dave Gardette
Nothing short of a triumph, Melbourne’s production of Hadestown is a visually rich, musically intoxicating, and emotionally resonant retelling of the ancient Greek myth of Orpheus and Eurydice. Set in a Depression-era, jazz-infused underworld reminiscent of New Orleans’ French Quarter (with echoes of ominous Weimar Berlin – ‘Cabaret’ undertones), this production re-imagines the classic tale with bold theatricality and standout performances.
The story follows the ill-fated lovers Orpheus and Eurydice. As poverty and hardship loom, Eurydice is lured to Hadestown, a mechanised underworld ruled by the formidable Hades. Orpheus, armed only with his music and unwavering love, embarks on a perilous journey to bring her back—challenging fate itself.
As the show’s narrator, Christine Anu as Hermes is a revelation. With effortless vocals and a warm, cheeky charisma, Anu guides the audience through the tale with the ease of a seasoned storyteller. Her authenticity and command of the stage is magnetic.
Eliza Soriano, stepping into the role of Eurydice in her professional music theatre debut, gives a performance that is packed with energy, emotional depth, and some serious vocal skill – a wonderful debut that marks the arrival of a major new Australian talent.
Noah Mullins’ Orpheus is tender, innocent, and heartbreakingly sincere. His falsetto is breathtaking. Mullins navigates the complex vocal demands with apparent ease. The chemistry between Soriano and Mullins is intense, complex, and believable, grounding the myth in human emotion.
Elenoa Rokobaro’s Persephone is a sultry, tormented delight. With stellar vocals, Rokobaro captures the duality of her character—torn between the world above and her life below—with nuance and charisma. Adrian Tamburini as Hades is mesmerizing. His amazingly deep, resonant voice and chilling presence evoke a sinister oligarch, drawing eerie parallels to modern political figures. The dynamic between Persephone and Hades is both prophetic and intriguingly poignant.
The Fates—Sarah Murr, Jennifer Trijo, and Imani Williams—are a vocal powerhouse. With hauntingly beautiful harmonies the Goddesses weave the threads of fate and guide the destinies of the mortals, delivering just the right amount of theatrical menace.
The ensemble of Workers, Afua Adjei, Sam Richardson, Devon Braithwaite, Jessie Monk and Joshua Kobeck, bring grit, precision, and soul to the underworld. Their synchronised movements, choreographed by David Neumann, are both evocative and impactful.
Director Rachel Chavkin and singer-songwriter Anaïs Mitchell (Music, Lyrics and Book), have crafted a production that is clever, visually captivating, and musically rich. The blend of folk, jazz, and blues creates a soundscape that is as unique as it is unforgettable. Scenic designer Rachel Hauck, costume designer Michael Krass, and lighting designer Bradley King have produced a textured, immersive world that feels both timeless and timely.
Special mention must go to sound designers Nevin Steinberg and Jessica Paz for achieving the holy grail of musical theatre: precise vocal clarity. Every lyric is heard, every emotion felt. And Musical Director Laura Tipoki leads a band that is nothing short of sensational. The band is justifiably a crowd favourite!
An electrifying descent into the underworld, Hadestown soars to theatrical heights. If you only see one show this year, make it this one – Melbourne has struck theatrical gold!
Hadestown is now playing at Her Majesty’s Theatre. For more information, click here.
