I’m coming, wait for me. All the way down to Hades’ underworld, if only to be brought back by Orpheus.
Anaïs Mitchell’s 'Hadestown' hits the Sydney stage, seamlessly blending Greek mythology with a modern folk-jazz score, telling the tragic love story of Orpheus and Eurydice as they navigate the underworld.
Set in a reimagined depression-era world, we meet Orpheus, a poor poet and son of a muse, trying to write the song to bring spring back again. Eurydice enters as a hungry young girl, a runaway from everywhere she’s ever been, describing the drastic changes in climate. After Orpheus declares he’ll marry Eurydice, she makes a deal with Hades and vanishes into the underworld.
Christine Anu narrates this staging as Hermes. While her vocal ability is unmatched, and could literally lead any soul back from the underworld, her jarring natural Australian accent – while everyone else sings in an American accent – completely undermines the power of the show by removing the audience's investment in the narration and the credibility of her character.
Persephone’s (Elenoa Rokobaro) entrances couldn’t have come soon enough, not only bringing much-needed energy to the stage but also bringing back the springtime so desperately overdue. Being let out of the underworld by her husband, Hades, for only six months of the year, Persephone knows how to liven the mood.
While the musical focuses solely on the retelling of the tragic love stories of Eurydice and Orpheus, and Persephone and Hades, it would be remiss not to mention the chilling similarities to the current state of the world, tackling themes of climate change and gut-wrenching comparisons to the current dystopia that is America.
Image © Lisa Tomasetti
Eurydice (Abigail Adriano) is an absolute powerhouse in this role, brilliantly bringing to life the struggle of a young woman who ultimately meets her fate in the underworld. With nothing else to lose but everything to gain, it’s clear why she could fall so quickly in love with Orpheus.
The story of the Greek gods wouldn’t be right without the angelic voice of Orpheus (Noah Mullins), who effortlessly sings iterations of the epic love song throughout the show. And let’s be honest, if anyone could save us from the underworld through song, it would have to be him. Oh, to be as lucky as Eurydice, to be wrapped in the warmth of a hug.
The Fates and ensemble members effortlessly weave their way through the tale, bringing well-rounded harmonies and choreography to life. The staging also gives us some breathtaking prop choreography and spectacular visual lighting effects. Ten out of ten.
As with any epic, 'Hadestown' doesn’t fail to deliver the tragic for our hero couple, who were so close to passing Hades’ challenge to free themselves from the shackles of the underworld. But when Hades says "don’t turn around", you’d better listen.
Words: Casey Elder
