A parallel universe where Gods walk amongst humans, singing and dancing to American folk

Thirteen years in the making, from the regional stages of Vermont to off-Broadway productions in New York, to a sold-out run at London’s National Theatre and all the way to Broadway, Hadestown returns to London for its West End debut. Boasting 8 Tony Awards, including Best Musical and Best Original Score, multiple other nominations, accolades, and international tours, it’s safe to say that composer and lyricist Anaïs Mitchell has created a musical that has rightfully left its mark in musical theatre history. 

Inspired by the myth of Orpheus and Eurydice, Mitchell has taken this famous ancient Greek story and given it a contemporary makeover by creating a parallel universe where people just like us are faced with all the real problems of our world, but where Gods walk amongst humans, sing and dance to American folk and are dressed in sequins, chiffon, and velvet. While the axis of the plot is the two parallel love stories of Orpheus and Eurydice and Hades and Persephone, Mitchell’s lyrics pose timeless questions not only about love, but also about freedom, climate change, immigration, capitalism and, of course, fate. “Why We Build The Wall”, arguably one of the best political songs ever written for musical theatre inspires, to this day, the same paralysing sense of terror and helplessness as it did in 2018, when it echoed between the walls of the National Theatre while construction for Donald Trump’s Wall had just started in America.   

Mitchell’s musical compositions, a delightful tapestry woven from the threads of American folk, blues, jazz, and Americana, feel like a warm hug ready to embrace the audience and ignite the distinctive spirit of the American South. The strong beats and industrial sounds amplify the capitalist, industrial environment of the underground and are beautifully juxtaposed with Orpheus’s lyrical and soft melodies mirroring his youth and hope for the world. 

While in the original cast production, all songs were delivered in American accents, for this West End transfer the actors sing in their own native accents, a blend of UK, US and Irish, adding a new layer of depth and richness to the musical experience. Despite the music’s strong American influences, the diverse tapestry of accents far from clashes with the show’s essence. Instead, it makes the story even more universal. 

Melanie La Barrie serves and leaves no crumbs as Hermes and Dònal Finn delivers a heart-wrenching, multi-layered performance as Orpheus. In fact, each cast member creates a brand-new and captivating version of their characters, which is no mean feat considering these characters were launched by musical theatre titans. Where this production somewhat falls short, however, is in highlighting the “generation gap” between the two couples. While all four actors deliver incredibly strong performances, the narrow age difference between them inevitably takes away from the inherent stakes of the narrative by failing to highlight as effectively the contrasting ideologies, ideals and behaviours that for the older couple will have been forged through decades of hardship, disillusionment, and compromise. Therefore, the struggle between the two sides is less urgent and the moment when Hades and Persephone reconnect internally with their younger selves loses some of its impact. 

For the freshly initiated members of the Hadestown club, this production will -justifiably- feel like an absolute whirlwind or emotions, creativity and excellence. For those well-versed in the original cast production, comparisons may almost inevitably arise. However, such reflections do not necessarily diminish the new experience, but instead highlight the unique magic of theatre, where two shows let alone two productions can never feel the same. It is this very essence that renders each theatrical experience truly special and unforgettable and this one is no exception.