THE Greek myth of Orpheus and Eurydice is one of the oldest tales told. The young poet and composer loses the love of his life when she’s stolen away to Hell by Hades the God of the Underworld. To win her back he must do just one thing – not look back behind him to see if she is following him.
This modernised version by Anais Mitchell, developed with Rachel Chavkin, is set in what looks like a 1950.s New Orleans jazz and folk venue, complete with soaring wrought iron balconies and oak panelling.
Veteran Broadway star Andre de Shields narrates as Hermes, messenger of the Gods, all silver hair and silver suited. He is sublime.
Reeve Carey is a spiky-haired balladeer with constant guitar slung over his shoulder, like a tousled James Dean, and his true love, ex – Miss Saigon star Eva Noblezada is achingly enchanting, rough, rugged and angry when she needs to be, but a strong virile lover.
Amber Gray is the drunkard Persephone, Our Lady of the Underworld, all hip flask and white fur coat, she has a deliciously vampy number that would have graced Eartha Kitt or Chita Rivera.
Patrick Page, another huge US musical theatre star, in Matrix black leather overcoat, silvery pin stripe suit and snakeskin boots, sings in the lowest register I have ever heard, and is deliciously evil from start to finish.
The ensemble of workers in the hellish inferno of iron and steel works and power grids fuelling the electric city which Hades has created through slave labour, are balletic, muscular and full of high-octane energy. The choreography by David Neumann is endlessly inventive, virile and sultry.
Carly Mercedes Dyer, Rosie Fletcher and Gloria Onitri play the 3 Fates as close harmony backing group constantly goading and interfering.
This is a fire-proof hit and one Hell of a musical.
The strongest number is undoubtedly the hymn to Hell’s workings Why We Build The Wall. Undoubtedly a huge swipe at President Trump, it’s lyrics mimic his sentiments – “We build the wall to keep us free… The wall keeps out the enemy… the enemy is poverty….because we have and they have not, because they want what we have got.”
Every year Persephone returns to the mortal world to bring back the Spring and Summer, and this theme of renewal is hugely relevant in the show’s finale.
Those who don’t know the story will find this is a spoiler.. Orpheus breaks his promise and loses his trust, and therefore the one he love
But wise old Hermes tells us at the end that it’s an old song, it’s a sad song, a tragedy, but they have to keep singing it, and who knows ? Next time it might turn out differently.
In a kind of impromptu a Capella encore the ensemble raise a glass to Orpheus and this who like him wander the world looking for better things – it’s a hugely potent comment on our trouble times.
HADESTOWN plays at the National Theatre, London, till, January 26, 2019, then transfers to Broadway.
Review by Brian Butler