Review: Hadestown: The Musical

Ever since the 2018 National Theatre production made it to Broadway the following year, Hadestown has become one of the most loved musicals of the 21st century. Anais Mitchell's folk and jazz infused take on the Orpheus and Eurydice myth has captured hearts all over the world. 

In 2024, the piece returned to London, playing in the West End's Lyric Theatre, with a cast that included Grace Hodgett-Young (Sunset Boulevard), Donal Finn, Melanie La Barrie (The Lorax) and more. Some of the West End's biggest talents have been included in the rotating cast, from Rachel Tucker, to current Strictly contestant Bethany Antonia, Trevor Dion Nicholas (Next to Normal), and Olivier winners Clive Rowe (Sister Act) and Victoria Hamilton-Barritt (NINE). 

Last year however, the principals of the National Theatre and original Broadway cast returned and joined the West End company for a limited run for the production to be filmed: Eva Noblezada, Reeve Carney, Amber Grey, Patrick Page, and the Tony-winning Andre De Shields. 

On 13th October, the fruits of their labour were finally released to UK audiences (thank you for Wait[ing] For Me). This is possibly the most anticipated screening for the whole year. And with the UK Tour finally happening next year, we could not be more excited to be Livin' It Up On Top. 

The question is: how well does Hadestown translate to screen?

Now I think that we can all agree a pro-shot of a live performance can never capture the full experience of being in a theatre and seeing the show happen right in front of you, but they can get pretty damn close. And there are also questions about where the camera should be focused in on at what point. And you can debate back and forth to your preference as you wish. 

There are however some gorgeous shots in the film, particularly when the central part of the revolve goes Way Down Hadestown, and when it gets to focus on the reactions on certain characters, especially Persephone. 

Sometimes it can be a little too slick and polished as a piece of cinema rather than a filming of a theatrical performance like the NT Lives, and sometimes focuses on the wrong character at the wrong time. But, you wouldn't necessarily know that if you didn't know the show super well, and for Hadestown newbies (such as my boyfriend), this shouldn't bother you as much. 

It was wonderful to see the original principals back again

I was very lucky, as stated before, to see the production at the National and they were as amazing as I remember. Who I really want to lift up, are the band, ensemble and the Fates. 

Rightly so, the band are always celebrated in Hadestown, and it was only right that they were highlighted in the pro-shot as much as they were, having their flowers in the bigger numbers, and of course, Lady of the Underground. The brilliant group of actors playing the ensemble are so lively and dynamic, living out all of the choreography. 

And then there are the "three old women all dressed the same": The Fates. Bella Brown (Into The Woods), Madeline Charlemagne and Allie Daniel (RENT) are absolutely fantastic, malevolent and mischievous, creepy and dangerous as they "whisper in the back of your mind". It was a little jarring to hear them in a variety of British accents after hearing the all-American principals (Hadestown in case you didn't know, encourages its actors to sing in their original dialect), but I love that they kept a mix of the well-loved principals with the West End cast. The choices that these three ladies made were magnetic and the harmonies Anais Mitchell writes for these three bewitches you as well as the characters. 

I really enjoyed getting to go Way Down Hadestown again

Hopefully it will get to Come Home With Me, and be on a streaming service soon, giving more fans who cannot afford tickets to be able to see the show for themselves

(And I promise I am done with all the puns)