Review by Tim Garratt
The tale of Orpheus and Eurydice is one of the best-known legends of Greek mythology, inspiring myriad works of art, film, literature and theatre. In 2006, American singer-songwriter Anaïs Mitchell took the myth of Orpheus and Eurydice, combined it with another Greek myth – the story of Hades and Persephone, the king and queen of the underworld – and staged a small community theatre project in her home state, Vermont.
Years later, Mitchell teamed up with director Rachel Chavkin, with whom she developed the project into a fully-fledged musical. Following several try-out runs, Hadestown finally arrived on Broadway in 2019, becoming a critical success and winning eight Tony Awards (including the top prize for Best Musical). As the Broadway production approaches its fifth anniversary, the Australian premiere season of this international hit is now underway at Sydney’s Theatre Royal.
Set in Great Depression-era New Orleans, Hadestown begins when Orpheus (Noah Mullins), a gifted but unrealised singer and composer, meets Eurydice (Abigail Adriano), a poor and world-weary young woman. Orpheus tells Eurydice he is writing a song “so beautiful, it brings the world back into tune”, and the two soon fall in love.
Meanwhile, Persephone (Elenoa Rokobaro) emerges from the underworld, bringing with her the hope that more prosperous times lie ahead for all. But it’s not long before her husband, King Hades (Adrian Tamburini), comes to take her back. As Orpheus and Eurydice continue to exist in poverty, Eurydice turns her thoughts to what life in Hadestown might offer – namely, food and respite from a harsh and unrelenting climate. Eurydice travels to Hadestown, where Hades uses her despair to coerce a contract to become a worker in his underworld factory and remain forever in his realm.
Orpheus arrives in Hadestown and learns that Eurydice has signed her life away to Hades. He pleads with Hades to let him take her back to the world above. Hades ultimately agrees to release Eurydice on one condition: Orpheus must lead her out of the underworld, walking ahead of her each step of the way, and if he turns back, she will be condemned to an eternity in the underworld.
The action in Hadestown is underscored by Mitchell’s sumptuous score – a soulful collection of recurring folk melodies with a New Orleans-inspired jazz flavour. The music and Mitchell’s poetic lyrics meld effortlessly with on-stage events, with Chavkin creating some stunning and powerful moments (the show’s dramatic climax is an especially artfully directed sequence, prompting a collective visceral response on opening night). It all makes for one of the most memorable experiences in musical theatre; it’s an original piece characterised by masterful storytelling that compels from start to finish.
Even a technical glitch temporarily pausing the production on opening night does nothing to blunt the impact of this experience, thanks to its cast and musicians (a band of eight led by Laura Tipoki). As the show’s narrator and the Greek god Hermes, Christine Anu makes a welcome return to the theatre stage, with a sassy and charming portrayal that anchors this production. As the two young lovers, Mullins and Adriano are well cast. Mullins is excellent as the naïve and quixotic Orpheus, with a remarkable tenor well-suited to the challenging high notes the character is required to hit. Adriano is a wonder as Eurydice, boasting a beautiful voice and convincingly portraying the tough, cynical and vulnerable young woman, who sees no choice but to do a deal with the devil to survive. Her performance of ‘Flowers’, a standout second act number in which Eurydice laments her fateful decision, is a highlight.
Tamburini lends palpable gravitas and his impressive bass-baritone to the villainous Hades, increasingly vengeful as his relationship with Persephone collapses. Rokobaro is vivacious but also soft as the underworld queen, Persephone. Rounding out the principal cast, Sarah Murr, Jennifer Trijo and Imani Williams serve up wonderful harmonies as the Fates, telegraphing each character’s internal conflicts.
Rachel Hauk’s set authentically realises the world above (with a 1930s New Orleans aesthetic) and the world below (an industrial hellscape). Costumes (by Michael Krass) are imaginative and thoughtfully designed, while Bradley King’s lighting is almost itself a star of the show, its colour and movement playing a critical role in evoking a setting that is truly mythic and unearthly.
Hadestown is spectacular theatre. Mitchell and Chavkin have created a piece centred on ancient Greek mythology that has loads to say about the contemporary world (the fear of the other, the perils of self-doubt, and the need to have trust and hope). Its score is lush, it’s a visual splendour, and the cast assembled for this Australian premiere will knock you over with their talent. This is a must see.
Hadestown is playing at Theatre Royal, Sydney until 26 April and will play Her Majesty’s Theatre, Melbourne from May. For more information and to purchase tickets, click here.
