Deliciously Evil Hadestown is a Triumph

Hadestown, the winner of 8 Tony Awards® including Best Musical and the Grammy Award® for Best Musical Theatre Album, is a triumph. Such is the strength of the cast, that the enfolding drama sweeps you swiftly from one number to the next without a moment’s delay.

After starting life in 2006 as a highly improvisatory American folk-influenced community theatre project in Vermont, Hadestown the musical is based on a reimagining of two Greek mythological tales – Orpheus and Euridyce, and Hades and Persephone. Created and written by the talented singer-songwriter Anaïs Mitchell and later developed with director Rachel Chavkin, this rather amazing show now successfully blends the two genres of American folk and New Orleans Jazz. The current production is based on the New York Theatre Workshop 2016 production where increased dialogue and the addition of a number of new songs helped tighten the storyline and increase the dramatic effect. The result is an incredibly powerful piece of theatre, and one not to be missed!

Hadestown in Toronto

Hadestown Toronto — The Royal Alexandra Theatre, Toronto on a summer’s evening

The Set

What an amazing set!

Beautiful colours; amazing lighting (with quite possibly the most lights I have ever seen on stage!); a revolving centre stage allowing characters to most effectively depict the journey both into and out of Hell; and space to have the musicians on stage as part of the action.

The Cast

Without doubt, this is a highly polished piece of theatre where all on stage are in complete command of their roles, from the petrifying bass notes of Hades, King of the Underworld played by Matthew Patrick Quinn in Hey Little Songbird to the immense vocal agility of Orpheus played by J. Antonio Rodriguez in Wait for Me with his electric guitar. Never a dull moment!

Opening the show with Road to Hell, Nathan Lee Graham who plays Hermes, expertly introduces us to the mythical world of Orpheus and Euridyce, where love is not simple; faith, loyalty, resilience and destiny are all tested to extreme; and where nothing in life is certain, except, perhaps hope. Despite a slightly harsh sound to his voice, Graham soon warms to his role, showing empathy for the star-crossed lovers. Hand gestures with an impish flick keep the audience captivated.

Matthew Patrick Quinn as Hades, King of the Underworld with his wonderfully rich and resonant bass vocal range in Papers and How Long? makes for quite a compelling viewing.

Hannah Whitely in her debut lead role gives a detailed and nuanced depiction of Euridyce, a character who has lost everything but still believes in hope. She clearly relishes the opportunity to display her immense vocal range to the full. Flowers was just beautiful.

Other Numbers to Look Out For

Other notable numbers are When the Chips are Down, and Way Down Hadestown – intended as a play on a New Orleans funeral march, one which celebrates life, even as the lovers descend to the Underworld.

The Musicians

For me, the real strength of this show however is the quality of the musicians, a seven-piece band, six of which are found on stage and all adding to the drama in their own individual manner. Led by Eric Lang on the piano (and sometimes piano accordion) the music seamlessly complements the onstage narrative, enhancing the plot and adding that all so vital New Orleans groove to keep us on the edge of our seats. Using arrangements and orchestrations by Michael Chorney and Todd Sickafoose, this slick contemporary score is timeless: I suspect we will still be humming these tunes for many years to come.

Emily Fredrickson trombonist, assistant conductor and sometimes glockenspiel player is the standout star. After taking over the original role from trombonist Bryan Tyre, Fredrickson proves to be a complete natural. Featuring five improvised trombone solos – one at the beginning, one at the end of the show, and one which requires dancing on stage with Persephone – this is a part full of challenges! It is so refreshing to hear this often overlooked instrument taking on such a pivotal role in a Broadway musical. Roles like this are few and far between.

Emily Fredrickson trombone — Emily Fredrickson with Persephone in one of the five improvised solos © Lisa Sibley

It is the attention to detail however, which really sets this score apart. Listening to creator, Anaïs Mitchell talking in interview about how the drums are deliberately placed off-stage in order to lift a chorus is clever. Likewise, the absence of drums in Wait for Me as Orpheus sings La-la-la–la-la-la-la, helps to increase the poignancy. This theory is taken to the extreme in perhaps the most dramatic moment of the show as Orpheus makes a fateful life-changing decision. Silence can be the most powerful tool in a composer’s armoury.

Taking a Bow

Taking a final bow after performing We Raise Our Cups.

In the words of pianist, Eric Lang, We Raise Our Cups performed as an encore, is ‘a toast to the world we dream about and the one we live in now. That’s the essential message of the show. It’s about creating a world that we wish to live in, despite obstacles and hardships.’ A message which will resonate through the ages.

Reviewed at The Royal Alexandra Theatre, Toronto, Monday 6th August, 2023

Photos by kind permission of Mirvish productions.

Hadestown is touring all over North America 2023-24.

Hadestown is opening at the Lyric Theatre, London February 2024. Buy your tickets now!