Lots of folks who know me and my love of theatre will know I’m a creature of habit the majority of the time, for a combination of comfort and logistical reasons. This year, though, I made a conscious commitment to try and see shows that were new to me or things that I may not normally choose to see. For the most part, I’ve made good on that, only returning to some familiar shows two or three times, and everything else has been new. It’s pushed me to be more open and adventurous in my theatregoing, and for that, I’m immensely grateful because it has brought some incredibly special experiences and people into my world.

Many of you reading this won’t know this, but I’m an absolute sucker for mythology and retellings of familiar stories: I think it’s the English Lit grad and writer’s spirit in me, they just spark something in me, and I get excited seeing how people interpret and reimagine because it allows me to see them with fresh eyes and renewed curiosity. I also studied Ancient Greece in History at school, and of course that included the Gods and some of the most famous myths!

Both of those things meant Anaïs Mitchell’s Hadestown had been on my radar for a little while, and after seeing the buzz around the show on my social media and being exposed to the show’s opening number in choir, I took a punt on seeing it when it made its return to London and set up home in the West End at the Lyric. I first saw the show in June, and then again (inadvertently – more on that a little later!) and have a third trip lined up in early October. I could have quite easily written this piece after that first visit, but now I’ve seen the show twice with a couple of leading cast combinations, I feel better equipped to talk about the show and what it’s given me.

Hadestown was first performed in Barre, Vermont in 2006, followed by a short tour of the surrounding cities, and eventually was turned into a concept album in 2010. Two years later, Mitchell met director Rachel Chavkin, and the pair reworked the musical with new songs and dialogue. This new version of the show eventually made it to Broadway in 2019 and garnered the most Tony nominations of that season with 14, winning Best Musical and Best Original Score, amongst others. Weaving together the myths of Orpheus and Eurydice and Hades and Persephone, we follow Eurydice, a hungry young girl who finds herself lured into an industrial version of the Underworld, and Orpheus’s quest to rescue her.

Musically, Hadestown features lots of my favourite genres: it’s a wonderful melting pot of influences- jazz, blues, folk, to name a few. When I came to the show the first time, I think I took joy simply from hearing those songs I was already somewhat familiar with in context, and it wasn’t until my second outing that I truly appreciated how much I love this score: it’s so intricate in terms of not only how it manages to bring all those influences together in a way that just seems to flow well for the story and all the character’s personalities, but also in the way it’s put together: the harmonies never fail to give me goosebumps and there’s motifs that occur throughout the show that tie everything together – arrangements and orchestrations courtesy of Liam Robinson, Michael Chorney and Todd Sickafoose. I’ve often found it hard to pin down my favourite opening number when asked, but I know that “Road to Hell” is definitely up there – the moment that trombone kicks in and we get those opening harmonies, I just want to move, and I do! I’ve always been a big fan of when musicals have their bands onstage as not only is it lovely as an audience member to be able to give them your appreciation, but I think it adds another layer of energy and dynamic to proceedings; at its core Hadestown centres around the telling of stories, and people are drawn to them, why we tell them again and again, even if the old songs are sad tales and tragedies. To have everyone involved in that shared telling, cast and band is always special and I always look forward to “Our Lady Of The Underground” where Persephone introduces us to Musical Director Tarek Merchant and the rest of the band by name and they each have a moment to shine – the cheers and applause are always so enthusiastic!

Something I’ve noticed the more I go to the show is that even though I have my favourite musical numbers (more on specifics a little later) I’m finding that the “quieter”, perhaps less well known songs from the piece are finding their way under my skin and becoming the ones I end up humming when I leave the auditorium, especially “All I’ve Ever Known”. I think that’s a testament to Mitchell’s skill as a songwriter: there’s a relatability and sincerity to her lyrics that I find incredibly moving and powerful as the songs often encompass human nature: love, loss, hope, desire, resilience. Many of my favourite musicals have me thinking about life and what it means to be human, and Hadestown does the same: I get to embrace my love of stories and think about the connections I have in my life: it just so happens to do that through the lens of mythology.

Rachel Hauck’s set, reminiscent of a New Orleans saloon bar is complemented beautifully by Bradley King’s deliciously atmospheric lighting, and as someone who didn’t see the National Theatre’s iteration in terms of staging (but knowing what a massive space the Olivier is), I really enjoy the sense of intimacy and immediacy conjured up in the Lyric. The revolve is a clever touch, and there’s a constant feeling of movement and drive from David Neumman’s choreography. I love that it doesn’t come from the “traditional” big dance break-type numbers.

I consider myself immensely lucky to have seen two different iterations of Orpheus, Eurydice, Persephone and Hermes, so far. Dónal  Finn was my original Orpheus, and I was astonished by him from start to end – for me, his Orpheus had a vulnerability and tenderness about him that I found so endearing and that especially made the ending a full-on emotional gut punch, despite knowing how the myth ended already! This musical allows the cast to use their natural accents, and I find that a beautiful storytelling tool as it really works here – it adds some real personality and intensity to the whole process and drives home this sense of community and the universality of stories. Dónal is Irish, and from a personal perspective, I’ve always adored that accent, so just hearing that even before he started singing, we were already onto a winner! Dónal ’s rendition of “If It’s True”, in particular, was a standout moment, and I hope to be able to see more of him in future.

Dylan Wood, the current and my second Orpheus, showed me a steel and tenacity to the character that I was utterly delighted by. I found it so incredibly easy to see why Eurydice would fall for him, and was charmed instantly by his spirit and inner strength, and I think that’s where the ending is potent for me in a different way in Dylan’s hands. Having Scottish roots on my dad’s side, hearing Dylan’s accent give these songs that lovely lilt made me so happy in fact during “The Wedding Song” recently, I shed tears: I’ve always liked that song, but hearing it in Dylan’s accent reminded me of my late dad, and Dylan’s energy in that moment in particular was so infectious I couldn’t help but smile! Hadestown marks Dylan’s West End debut – he’s thrilled me so far and I can’t wait to see where he takes Orpheus in the coming months.

My Eurydice duo will always hold a special place in my heart, given the circumstances in which I saw them both: Madeline Charlemagne was my original Eurydice, and I got to see her whilst she was still understudying the role and playing a Fate in the previous cast! Her take on Eurydice had a real grit and toughness about her that balanced the vulnerability of Donal’s Orpheus so beautifully. “Flowers” is my highlight where Eurydice is concerned, and I love how Madeline interprets the emotion and context of the song.

Knowing what I enjoy about Dylan’s take on Orpheus, I’m incredibly excited about seeing him and Madeline play opposite each other soon; I think the chemistry and emotional arcs are going to be something to behold!

It blows my mind that when I saw Bella Brown as Eurydice, I wasn’t even supposed to be there, but wanting to avoid the inevitable Regent’s Park “rain off”, I contacted the theatre in the morning on the off chance they may have had any of the wheelchair spaces left. I heard back from them whilst I was on the train, and I was so relieved – the atmosphere in that auditorium was so joyful, palpable and special as it was her debut in the role! She had such a great understanding of what drives Eurydice and where she starts the story, as the lone wolf who sees the world for how it is, unlike Orpheus, who sees it for how it could be, and it was incredible watching Bella play that journey as she learns from and falls for him. Bella’s Eurydice found new facets to the role that I loved: she reveals her vulnerability so subtly that there’s almost a bit of bravado there, as well as humour and warmth that I don’t normally associate with the character that was great fun… must be the Northerner in her! Much like Madeline, Bella’s take on “Flowers” was a highlight; she really threw everything at it and I was so moved by the fact she let the emotions she must have been feeling on her debut show: she cried, and I was crying too.

The chemistry between Dylan and Bella was phenomenal and I hope I get more chances to see  how it grows and develops.

The crux of Orpheus and Eurydice’s relationship is about these two very different personalities coming together, finding solace in, and learning to trust each other. What I love most about the whole journey each actor has taken the character on is that you’re always rooting for the duo despite knowing (in my case anyway) how it turns out.

My first trip “way down” was something of a strategic booking to see Waylon Jacobs on as Hermes. In the years I’ve known and been a fan of his, I’ve come to nickname Waylon as my “Cover King” because in every show I’ve seen him in, he has been on for at least one of his tracks. He’s been my Gator in Memphis, my King George and twice Aaron Burr in Hamilton and now my original Hermes here. Hermes acts as a guide in the story, both to Orpheus and to us, as the audience, and to see Waylon bring the charm I know he has in bucketloads to Hermes was a delight; he’s equal parts cool, laid back and cheeky and I adored his sense of play and fun!

Melanie La Barrie was a name that had always been familiar in my theatregoing circles, but I’ve never been able to pull off an opportunity to see her work. Now though, I feel my theatregoing life has been enriched immeasurably having seen her in this show. She is an exceptional storyteller, and her sense of being present even in those moments where Hermes isn’t the focus is second to none; she’s very aware of both herself and her company, and those nuances are a gift as a viewer as they draw you in and refuse to let go. I loved how many different shades her Hermes has and there’s real fun in that sense of unpredictability: is she charming? Witty? A little bit sharp-tongued and mischievous? All the above, and from beginning to end she has you eating from the palm of her hand…

I started this blog with my love for Hadestown musically and how intricate the harmonies are, and the Fates are a massive part of that pleasure – Bella & Madeline  were in my original line up alongside Allie Daniel. I’ve also seen Lucinda Buckley and Francessca Daniella- Baker in the trio!  I love how sassy and expressive these ladies are, especially Allie – she always draws me in and I love watching her. In some ways, the Fates are similiar to Hermes, guiding us in terms of the innermost thoughts of some of our main characters, and they take a particular interest in Eurydice. One of the most striking things about them though is how their influence can become quite dark – they seem to take great delight in antagonising Eurydice and mocking Hades, playing on their doubts and fears. As a reader and viewer who delights in when characters are complex in the sense of being “grey” instead of clear cut black and white, I delight in watching the Fates play that arc, and revel in that uncertainty.

My original  “Lady of The Underground” Gloria Onitiri came into my life thanks to another musical (The Grinning Man) where I was immediately struck by her vocal and comedic timing. I’ll have only seen her as Persephone once, but I will remember the experience fondly, watching her play a darker, more complex role here. The relationship between Persephone and Hades is actually my favourite of the two in the show because it’s so nuanced – it’s already established when the show begins. We see it’s fractured due to the strain of Persephone being in the mortal world for half of each year. Hades becomes consumed by doubt, loneliness and jealousy; throwing himself into his efforts to construct Hadestown, whilst Persephone is blissfully unaware as she celebrates the coming of spring “up on top”. When Hades comes early to retrieve her, she is astonished and troubled by his efforts, which he attests are because of his love for her. She says she doesn’t know him anymore, and thus becomes touched by Orpheus’ efforts to rescue Eurydice, because his love for her reminds her of how she & Hades used to be, and that’s such a rich arc for two actors to play with, and enjoy as an audience member: watching these two troubled souls find their way back to one another. I found Gloria’s Persephone to be incredibly charismatic and engaging, fizzing with life but also very aware of those subtle darker shades in her character and confronting them.

There’s a Shakespeare quote that I feel perfectly encapsulates my love for Lauren Azania’s Persephone: “though she be but little, she is fierce!” I adored the warmth and sincerity I found in her portrayal, and much like with Dylan’s Orpheus, found it so easy to see why Hades would fall for her. Her chemistry with Zachary was a joy to behold and I hope I get another opportunity to see her as the Underworld’s Queen!

One of my greatest joys seeing shows that are new to me is that, if I’m incredibly lucky, there’ll be a particular performer who I’ll see for the first time, and just know that I will want them to stay in my theatrical orbit always. Here, that honour goes to Zachary James. The second he first strutted on stage as Hades I thought to myself: “oh hey, I think he and I are going to get on, I’m loving this swagger!” And then, he opened his mouth and sang and lo, he has my heart and soul forever. He has such charisma and presence, but what I love most about his interpretation is the way he leans into and explores his contradictions: he’s strong and an authority figure, but is also deeply insecure and afraid of losing Persephone, even though her dismissal of how he shows his love for her frustrates and hurts him, and it’s glorious watching him take that arc. Zachary has been my “constant” with this show whilst all the other main cast have shared duty, and his departing later this month feels like something of an end of an era and I’m very sad, but I’m also incredibly grateful for the joy he’s given me, onstage and off.

This year has been a really exciting year for me as I’ve seen loads of new things, and I’m thrilled to have Hadestown amongst the ranks; I’m late to the party as always, but I’ll be raising my cup as long as I’m able.

Production photography: Marc Brenner

Hadestown is currently booking until February 2025