Hadestown at the Lyric Theatre

You’ll want to hear this story again and again. If you have the chance to go Way Down Hadestown, I most definitely recommend taking the opportunity to see this incredible show.

This is a show that I had booked and been excited to see since the West End transfer was announced and I was definitely not disappointed. From sublime vocals to beautiful imagery both physical and through the use of lighting, this show is a must-see experience as I watched in utter awe from start to finish.

*POSSIBLE SPOILERS AHEAD*

My Review:

The show opens with Road to Hell led by Melanie La Barrie who is unmatched as Hermes with her energetic and commanding narrative ability. From audience participation transitioning into Road to Hell to an impressive stamina, meaning the characterisation is never lost during the performance. This characterisation is made even more enjoyable due to Melanie La Barrie's phenomenal vocal talent showcased at all available moments, once again never faltering. Grace Hodgett-Young beautifully portrays Eurydice from her soft nature during Any Way the Wind Blows and Come Home with Me to her decisive and self-preserving actions supported by incredible vocals in Hey Little Songbird onwards also her additional vocals in Way Down Hadestown are out of the world and convey a strong desperation to escape her reality on Earth which we later see actualised. Any Way the Wind Blows is the audience's first time hearing Eurydice and Grace Hodgett-Young utilises this moment to its full ability emotionally involving the audience in the story from the start. Come Home with Me sets the foundations of the relationship between Orpheus and Eurydice and is once again utilised impeccably by Grace Hodgett-Young and Dónal Finn as they showcase their individual personalities alongside the shared relationship between them that will grow and change as the show progresses. The Wedding Song performed by Grace Hodgett-Young and Dónal Finn is a moment of unadulterated joy during this show, sowing the seeds of the relationship between Orpheus and Eurydice. The almost comedic fashion of this song provides a love-sick feeling to their relationship where they are simply happy to be with each other and nothing will affect that. It is through Grace Hodgett-Young and Dónal Finn's portrayal of their respective characters that this interpretation is conveyed to the audience. Dónal Finn is perfection as Orpheus with his boyish charm and innocence to the truth of the world during Come Home with Me to his loss of faith and desperation highlighted during If It's True. His impeccable range and vocals support his every song. His Wait for Me left the audience in awe with applause that seemed to never cease as we were all left speechless by the talent of himself and the rest of the cast. The beautiful lighting and physical theatre involved with this incredibly powerful and moving moment of the show further added to the awe and shock experienced by the audience. Ryesha Higgs is fiercely sassy as Persephone who brilliantly transitions from hope in Livin' it Up on Top to despair as she returns to Hadestown during Way Down Hadestown which is phenomenal with incredible vocals from all members of the show. Ryesha Higgs' Livin' it Up on Top is our first main introduction to the character of Persephone and she did not disappoint with a perfect characterisation and out-of-this-world voice, I feel privileged to have been able to see her shine as Persephone. This was Ryesha Higg's second time performing as Persephone, and you would have thought she had been doing this role her whole life due to her talent and vocals which were consistently maintained alongside her perfect characterisation of Persephone from scene to scene. Also, the solo by Daniel Highman on the trombone further adds to the New Orleans Jazz inspiration that is so prevalent throughout this show. Zachary James dominates as an enigmatic Hades commanding the audience during Why Do We Build the Wall following his charming yet manipulative coaxing of Eurydice in Hey Little Songbird. Zachary James truly is a force to be reckoned with and I cannot imagine anyone more perfect for this role transitioning from The King of the Underworld to a fool who would do anything for his love seamlessly. The Fates are truly the train (to go Way Down Hadestown) of this show carrying the performance from start to finish, with their perfectly added interventions throughout with amazing voices and characterisation to boot. We first meet the Fates during Any Way the Wind Blows and their subtle actions during this are suggestive of how influential they will be throughout the show by simply utilising subtle means and relying on a butterfly effect. They provide the humanisation of thought and nature within the show from being the storm in A Gathering Storm to sowing the seeds of doubt in Orpheus' mind during Doubt Comes by utilising a softer tone to show the power of suggestion as Orpheus starts to doubt the truth of the deal. The Fates were comprised of Lucinda Buckley, Madeline Charlemagne, and Allie Daniel, all of whom were a privilege to see perform. During When the Chips are Down, the physical theatre of this show, from all but especially the Workers who make up the ensemble, is brilliantly used to convey the storyline in a different and engaging manner. This show also utilises an often active stage, mainly due to the Workers, which causes a greater noticeable shift during darker and more emotional moments of the show, when the stage becomes calmer, pinning the focus on the person performing at that moment. The ensemble of the show I attended was comprised of Tiago Dhondt Bamberger, Waylon Jacobs, Winny Herbert and Christopher Short. The Workers, similar to the Fates, add so much to this show, whether through amazing accompaniments of vocals during songs such as If it's True or their physical acting during Wait for Me and Papers. The lighting in this show is phenomenal and most definitely utilised to its full power at the end of Wait for Me providing a beautiful moment of sheer power and desperation accompanied by Dónal Finn's heavenly vocals and perfect additions from the Workers and the rest of the ensemble. Also, the set transitioning as the audience enters Hadestown is a brilliant decision as the set rising makes it feel as though the audience is descending into Hadestown alongside Eurydice. Why We Build the Wall ending with "Anybody want a drink?" from Persephone is the perfect way to end Act 1 and greatly reminds me of Interval Preparations from Ushers. Personally, I am definitely a fan of these subtle nods to the interval coming at the end of the first act of shows as they can feel as though they are a fun little easter egg for audience members.

The band comprising of Tarek Merchant (piano/accordion), Ros Stephen (violin), David Kadumukasa (cello), David Delarre (guitar), Daniel Highman (trombone/glockenspiel), Nicki Davenport (double bass) and Brad Webb (drums/percussion) are amazing and their involvement in the show is a joy to watch. The highlighting of the band by Ryesha as Persephone in Our Lady of Underground is so lovely to see as bands are rarely named and individually applauded in shows and the appreciation of this essential part of the show is beautiful to see. Also, Melanie La Barrie as Hermes flirting with Persephone at the start of this song is perfect for this interpretation based on the Greek Mythology, and it was so entertaining throughout the show to see these subtle interactions between Hermes and Persephone. Way Down Hadestown (Reprise) formally introduces the Workers to the audience as we see what will become of Eurydice and realise the magnitude of the decision she made. As Eurydice releases what she has lost, the show beautifully transitions to Flowers which truly showcases Grace Hodgett-Young's phenomenal vocals. This moment of raw emotion forces the audience to watch Eurydice come to terms with her situation and the decisions she’s made, acting as a brutal reminder of the truth of the show that no matter how many times you sing it it’ll stay the same. Come Home With Me (Reprise) is yet another moment of hope in this constantly changing show that is brutally ended by Papers that is made even more powerful by the Workers who provide the physicality of this scene through a perfectly choreographed scene during the instrumental moment leading into Nothing Changes once again highlighting the ethereal nature of the Fates as observers who play a pivotal role in bring about the occurrences of the show by the power suggestion, in this case leading to If It's True. If It's True is a beautifully heartbreaking moment in this show as Orpheus loses faith in ever being with Eurydice again, and as mentioned earlier this deeply moving song is made even more impactful due to the Workers and Dónal Finn's brilliant presentation of Orpheus' thoughts and feelings. How Long? provides insight into the personalities of Hades and Persephone as they air their differing views on the relationship between Orpheus and Eurydice, this moment is subtly conveyed by Ryesha Higgs and Zachary James, which inversely adds to the power of the song. Chant (Reprise) shows the first moments of hope and rebellion amongst the workers, forcing Hades to face the situation presented to him and the decisions made in the moment, brilliantly transitioning into Epic III which is the final telling of the story of Hades and Persephone. The repetition of the story of Persephone and Hades is continuously told through Epic I, II and III with Epic III providing an end to their story where finally hearing their story can bring the estranged lovers back together in a moment of beautiful interaction where Zachary James and Ryesha Higgs were able to portray so much emotion without words simply actions. Epic III transitions into Promises shows a glimmer of hope as we see one pair of lovers return to each other, providing faith in Orpheus and Eurydice as conveyed by their words. This hope is perfectly portrayed by Grace Hodgett-Young and Dónal Finn making it all the more devastating as the fates sow seeds of doubt in Word to the Wise leading into His Kiss, His Riot. This powerful and chilling moment led by Zachary James is the final turn of this show, forcing the audience to hold onto some semblance of hope for Orpheus and Eurydice, especially if this is their first time watching the show. Wait For Me (Reprise) is a powerful moment of blind hope that is devasted by the following Doubt Comes In as the Fates cast doubt into the mind of Orpheus and this moment utilises choreography that truly matches the tone in such a fashion that the haze and lights show how the Fates are hiding in the darkness and attacking the corners of Orpheus' mind and was a favourite moment of mind during this show. Road to Hell (Reprise) highlights that this story is set by fate and no matter how many times it is told it will always end the same. Starting and ending the show with the same song is perfect for the show as it truly shows the cyclical nature of the story whilst also conveying the emotions felt by altering the way in which it is sung, utilising a slower tempo to almost convey the sadness that it must be sung again. The last song, which can be filmed, is We Raise Our Cups. This beautifully ends this stunning show as it dwells on the occurrences of the show led by Persephone and Eurydice making it even more thought-provoking when you consider their individual situations at this point. This is possibly one of my favourite moments with an understated tone and the entire company joining in to truly complete the story so that they can tell it again.

Content Warnings:

The theatre has warnings on display which are as follows:

This performance includes strobe-like effects, and the use of smoke and haze.

This show does not contain any triggering moments that I am aware of, however, I feel that these warnings should be noted:

There are extremely bright lights that at some points do become uncomfortable, especially for the first couple of rows
The haze spreads into the audience, which could be uncomfortable for people

Thank you for taking the time to read and I hope this review has proved interesting and helpful for you :)

- AnxiousTheatregoer