Hadestown is a musical modern retelling of the Greek myth love story.
From ancient Greek mythology, Orpheus and Eurydice’s love is legendary; the tragedy of lovers who are separated by life and death. When Eurydice dies, Orpheus ventures into the underworld to rescue his lover and bring her back above.
In this modern retelling with industrial and steampunk flair, infused with the perfect marriage between American folk music and New Orleans style jazz, comes Hadestown. With music, lyrics and book by Anaïs Mitchell, developed with and directed by Rachel Chavkin, and proudly presented in Australia by Opera Australia and Jones Theatrical Group, this Australian production, currently at the beginning of its Melbourne season, is well worth raving about.
Stepping into Melbourne’s Her Majesty’s Theatre, the first thing I noticed was the minimal but aesthetically pleasing set design by Scenic Designer Rachel Hauk, appearing like a cozy New Orleans townhouse, complete with a balcony, coloured wooden doors, and its walls bathed in a lovely shade of blue. At each end of the stage sat instruments, and it dawned on me that instead of hiding in the orchestra pit, the musicians would be right up on stage with the cast, led by Musical Director Laura Tipoki. I loved this decision and it made the musical more immersive.
Instead of the typically expected tones of red to represent hell, the costumes by Costume Designer Michael Krass, cleverly chose to focus on more monochrome and metallic shades with a touch of colour. From the gypsy-like Fates and their tie dye gowns almost looking silver, Hades’ dark pinstriped business suit complete with a black leather coat and sunglasses that are reminiscent of Keanu Reeves’ Neo from The Matrix, and the workers with their bronze metallic looking shiny leather overalls, all of these smartly designed costumes help to express the industrial factory driven world that is Hades’ kingdom. It’s dark, it’s grimy, it’s smoky, it’s gloomy, and it’s no place where anyone would want to live in.
In comparison, hope is hinted at with the bright colours that we see on stage, including in Orpheus’ neck scarf, the signature red flower, and in Persephone’s bright green dress to represent springtime when the goddess is above ground. It’s subtle and very clever.
Through its minimal staging and fine yet effective costume design, this allowed space for the Hadestown main cast, ensemble, its story and songs to shine, while still feeling like an intimate experience.
Aussie music queen, Christine Anu, has returned to theatre in the role of Hermes. In Greek mythology, Hermes is known as the Messenger of the Gods, so it was smart to make the character double as both MC and narrator. We already know that Christine Anu was born to be on stage, but how lucky are we that she’s returned to Australian theatre! Every second that Christine Anu remains in musical theatre is a gift. Her vocals are to die for, her acting is superb, and her enthralling stage presence is undeniable.
Elenoa Rokobaro is sensational as the goddess of Spring and the Underworld. Rokobaro not only has killer vocals, but she can lift a room with her presence, and at her command if she so pleases, tear it all down. The depth of Persephone’s character is displayed through Rokobaro’s excellent portrayal. One moment she’s wearing a beaming smile on her face, and the next she’s looking like she may never smile again. I am fully convinced that at this point that Rokobaro can masterfully succeed in any challenge that she chooses to battle.
Adrian Tamburini is fantastic as the tall, dark, handsome and severely intimidating, Hades. He’s the kind of boss that never says ‘Hi’ to you when you show up for work, never asks you how you are, expects you to do overtime without extra pay, and doesn’t know the boundaries between work and personal time. But he’s also the clingy, loving and somewhat toxic husband that unhealthily doesn’t need any friends or anyone else, just his wife. Tamburini aces the role of Hades and the multiple layers to his personality with ease. Although, Tamburini’s Hades is hard not to love either with his smooth bass-baritone vocals which ooze like audible gold.
Plus, his chemistry with Elenoa Rokobaro‘s Persephone is interestingly complicated and still quite adorable. We want to root for them, we want them to be happy with themselves and with each other, but not at the expense of others.
The Fates, consisting of Jennifer Trijo, Sarah Murr and Imani Williams, remind me a lot of the Muses from the animated classic Hercules. They sound just as phenomenal together as they do apart. But instead of warm and encouraging, this diva trio are mysterious, feisty, fierce, haunting and ominous. They’re deliciously vicious and entertaining. During scenes where they weren’t even present, I found myself longing for them to come back on stage. You really can’t help but want more of them.
Stepping into the role of Eurydice (normally played by Abigail Adriano) on opening night was Eliza Soriano. It’s hard to believe that Hadestown is this Melburnian Filipina-Australian’s professional debut, as she could have fooled me that she’s been a seasoned professional for years! A homegrown natural talent, I adored her tomboy, raw, conflicted, frustrated, naïve and powerful take on Eurydice. I also have a feeling that she will become a formidable force that will frequent Australian theatre for years to come.
And then there’s Noah Mullins as the soft, sweet, worrisome, open-hearted, creative and poetic Orpheus. When needed, Mullins wields the guitar as if it’s an extension of himself. Effortlessly, Mullins’ wonderous and beautiful voice consistently fills the quiet void of Her Majesty’s Theatre with his enchanting and gorgeously impressive falsetto. His performance alone of ‘Wait for Me’, complete with its captivating visuals, still lingers and haunts me to this date, long after I’ve left the theatre. This specific song and performance is ethereal, jaw-dropping, mesmerising, and has carved out a special place in my heart. I cannot imagine anyone else in Australia playing this role other than Noah Mullins. Through his hard work and talents, Mullins’ Orpheus is perfection.
Hadestown has been carefully created to allow both its musicians and songs to have special moments. Sometimes the musicians would help lift a song, and at other times, the cast were left alone with just their voices, creating stunning melodies acapella. The Melbourne opening night audience were so respectful and silent, during the moments when no music was playing, it was so quiet that you could hear a pin drop. This just goes to show how incredible Hadestown is as a musical. Everyone in the venue is attentive, emotionally invested, and deeply cares about what happens to these characters. Yes, even the intimidating ones.
In a lovely gesture from some Hadestown fans in the audience, during Melbourne’s opening night, one thoughtful fan arranged for the entire front row to have the same kind of silver cups that the cast hold up at the conclusion of the show, which was very, very sweet.
Hadestown is the one show I thought would never come to Australia. I admittedly had tried not to listen to its cast recordings to avoid falling in love with it, just in case it never came here. Yet somehow, it finally did, and I am forever thankful to all involved that were brave enough to bring it to our shores. Because honestly, I think I’ve just found my new favourite musical. I’ve already booked my tickets to see it again.
Hadestown is a beautiful bouquet of bitter-sweet brilliance, with the finest storytelling I’ve seen on-stage in Australia in years. Despite this love tale being a known tragedy, Hadestown is still full of surprises, and with its own unique charm. It is an emotional, exquisite and thrilling show that is visually and audibly pleasing, and is welcoming to both theatre and live music lovers alike. It’s also comforting and heartwarming to know that these star-crossed lovers are reunited whenever we think of their story or listen to their songs. I guess, all the more reason to go see it again and again.
Hadestown had its Melbourne opening night at Her Majesty’s Theatre on Saturday the 10th of May, and is currently playing in Melbourne until July 13th.
For more information and ticketing, visit:
https://hadestown.com.au
Photography by Grant Alexander.
Love Hadestown too- it was the 2019 Tonys that started my fascination. Being a lover of both musical theatre and greek mythology, it led me to wanting to see it.