HADESTOWN at London’s Lyric Theatre

The Three Fates, Melanie Bright, Spike Maxell, Lauran Rae – Hades (Alistair Parker) and Persephone (Rachel Adedeji) – photo Brinkhoff-Moegenburg

I guess there are many theatre goers who have seen Hadestown more than once. It has a true following. I will  now own up that I had not seen it prior to this performance. Not sure why. Just didn’t fancy it. Maybe the hype put me off. At such a level, would I expect the world and be disappointed, so I just didn’t go. So, now it is my turn. Let’s see what I thought of the much lauded Hadestown, recipient of many an award, and now playing once again in London’s West End at the Lyric Theatre with a new cast featuring Alastair Parker as Hades, Rachel Adedeji as Persephone, Marley Fenton and Bethany Antonia as the ‘doomed’ lovers Orpheus and Eurydice, Clive Rowe as Hermes and the dynamic Fates, Melanie Bright, Lauran Rae and Spike Maxwell.

Let me just say that my premise is that a musical should have a ‘banging’ opening number to draw in the audience and keep them gagging for more. And what a cracking start to this show. Clive Rowe, as narrator Hermes, cut a resplendent figure in his silver costume, which he modelled to the whooping audience, and belted out the opening number ‘Road To Hell’ with such energy, dynamism and charisma that we knew we would be in for something great. A song ostensibly about the road to Hell/Hades but in essence the downward journey of mankind, desperate to escape poverty and despair and willing to believe the lies of those in power, willing to lose their own identities to survive. Rowe’s performance was an absolute masterclass and the audience literally leapt from their seats. I, and my ‘one other’ could not wait for more from this great actor.

Clive Rowe as Hermes photo Brinkhoff-Moegenburg

But for now, a quick intro to the legendary Greek myth.  This is a tale of two intertwining love stories. The first of the tragedy of two young lovers Orpheus and Eurydice, fated never to enjoy a life together in mortal form and the second of the God of the Underworld, Hades and his bride Persephone, living six months in the underworld and returning to earth in Spring and Summer each year. Beautiful tales but doomed for eternity. How would it translate into modern times?

In Anais Mitchell’s Hadestown Alistair Parker presents Hades, God of the Underworld, as a quasi Capone-like character, complete in pin striped suit, sleeves rolled up and wearing dark glasses. He is the tyrannical ruler who maintains control by promising safety to his workers. They will have food, they will have warmth and they will worship him. His gruff rendition of ‘Why We Build The Wall’ at the close of a sparkling Act 1 was spine chilling. Who do we build the walls for? Is it for protectionism against the unwanted or rather more to keep in the populace. Keep building, keep them distracted and ultimately feed them the mantra that they will repeat and internalise, believing it to be the truth. And so it was with Eurydice, played with a strength and sweetness by Bethany Antonia. Only too willing to sign away her soul in exchange for safety and warmth promised to her by the despot. A terrifyingly hypnotic song, sung with absolute conviction and temerity, whose refrains were hypnotisingly repeated in chorus by the workers.

Alistair Parker as Hades photo Brinkhoff-Moegenburg

The score is a fusion of many genres which offer an eclectic mix. Punchy rock, folk, ballad, country, jazz. It was all there, played by the fantastic eight piece band who took their rightful place on stage, and were introduced player by player by the dynamic Persephone, Rachel Adedji whose voice belted out to their accompaniment. My own favourites were the opening and closing numbers of Act 1 but that isn’t to say that the other numbers weren’t good – they were!

Anyway, to continue the tale. Wannabe musician Orpheus, played with a quiet gentleness and innocence by Marley Fenton, falls instantly in love with Eurydice but is lost in his desire to write his own score, leaving the poor girl hungry and desperate for food. Thus, in her desperation she is enticed by Hades, is bitten by a venomous snake and in death travels to Hell/Hades. Orpheus begins his quest to find her and bring her back to Earth.

Bethany Antonia (Eurydice) and Marley Fenton (Orpheus) photo Brinkhoff-Moegenburg

Tough guy, Hades, persuaded by his love for Persephone, grants this on condition that Orpheus does not look back until he has left the Underworld. And here’s the spoiler for those who are unfamiliar with this much loved Greek legend, he does! And so Eurydice returns to the Underworld, only to be joined by Orpheus on his death.

A powerful myth which, through its extraordinary retelling in Anais Mitchell’s book, music and lyrics, translates well into modern times. The myth has taken a new form as an allegory, where power and greed exploit the vulnerable. An age old story that is forever repeated.  That irritating phrase, ‘lessons will be learned’, is exposed. We don’t learn. We simply repeat our dreadful mistakes. Together with award winning director Rachel Chavkin, the musical Hadestown has achieved deserved success both here and over the pond and I am sure will continue to do so.

The high energy of the ensemble and the Fates is infectious. Their numbers offer brilliant harmonies and get the audience involved. Likewise, the movement and choreography (David Neumann) are seamless. Dancing, shifting props, morphing into underworld labourers. Fabulous. They bring their own strength, determination and dynamics. From the moment the production starts they break down the fourth wall and address the audience directly. The freshness of their chemistry and synergy is joyful.

The Fates photo Brinkhoff-Moegenburg

Rachel Hauck’s scenic design, together with Bradley King’s lighting, is simplistic but effective. The revolve allows  space for movement and does not take centre stage or attention away from the performances. No, indeed, it is the cast and band who carry this production and they all deserve the tumultuous applause.

So, was I blown away? Well, yes. This is a great musical with many strong features. Act 1 was brilliant and its pace was relentless. Perhaps Act 2 lost some of that momentum but nevertheless was well played. Interestingly those who have seen this before will be tempted to compare and contrast the changes in this revived production. I guess that is what makes this so interesting.

Do go and see it. If you like musicals, if you like high energy productions, this is for you. Have fun.

Playing at The Lyric Theatre, London until 13 December 2026

Running time: 2 hours 30 minutes, including a 20 minute interval