Hadestown (Theatre Royal) ★★★★½

Music, book, and lyrics by Anaïs Mitchell. Australian Premiere. Theatre Royal. 10 Feb – 26 Apr, 2025.

The first time I saw Hadestown, I fell in love. Now that the show has arrived in Sydney, I’ve fallen in love all over again. Hadestown is epic (and ‘Epic II’ and ‘Epic III’ — but who’s counting?).

A folk-rock/New Orleans jazz retelling of two Greek love stories — the ill-fated young lovers Orpheus and Eurydice, merged with the tale of Persephone and Hades. The show is both a romance and a tragedy, earthy in tone but heavenly in song. It’s a perfect blend of elements, elevated to something… mythic.

Hadestown has taken a long road to our stages (wonderfully detailed in Mitchell’s book Working on a Song: The Lyrics of Hadestown — a masterclass in dramaturgy). When I first saw it at London’s National Theatre in 2018, pre-Broadway, the show was longer and subtly different, but its heart was seductively intact. That original cast, featuring Broadway royalty André De Shields, Amber Gray, and rising stars Eva Noblezada and Reeve Carney, was dynamic. I’ve always feared seeing another cast, as these performers were so indelibly fused with their roles — particularly Amber Gray, whose drunken, vivacious Persephone was a real standout.

That view softened with the recent release of the UK live recording, which featured the local cast singing in their natural accents. Orpheus now has an Irish lilt, and Hermes gender-flipped into a Caribbean/British woman. Hearing that recording freed me up and made me excited to hear these songs with a local Australian twang.

It’s clear that Sydney’s musical theatre fans are already steeped in Hadestown and primed for the show. The Theatre Royal foyer buzzed with a crowd that seemed more queer and alternative than usual. Mitchell’s music has clearly struck a chord with a fresh audience. And for good reason — these songs are gorgeous. Mitchell’s tunes sweep with romance and show a clear understanding of how to balance a musical, shifting tempos and creating evocative reprises. There is an element of YA angst in Orpheus and Eurydice, mixed with the struggles of longer-term relationships in Persephone and Hades.

I’ve seen the Sydney production twice now (the first time was during previews, so I didn’t review it, but on the second watch, my thoughts were confirmed). Seeing as the show has received a host of rave reviews (and this will be one as well), I’ll dig a little bit deeper than usual. While I’m highlighting a couple of negatives, its coming from a place of ★★★★½ adoration.

The Australian cast is truly wonderful. Praise the gods that the powerhouse that is Elenoa Rokobaro has finally been given a mainstage role worthy of her talents. Her Persephone is grounded, organic, and beautifully messy. The trio of shady Fates (Sarah Murr, Jennifer Trijo, and Imani Williams) belt and harmonise, adding an extra layer of sass and spite to proceedings. 

Adrian Tamburini draws humour from the sleazy and heartless Hades, his rich bass voice filling the room. Devon Braithwaite, who went on as Hades the second time I saw it, brought an extra dash of swagger and sex to the part (dear producers & casting directors — he’s ready for his own leading role now. May I suggest The Wild Party? He’d make a devilishly good Burrs).

Abigail Adriano’s Eurydice blends vulnerability and strength (a more streetwise version of her Kim in Miss Saigon). Her bigger, more demonstrative style is balanced out by the gentle vibes of Noah Mullins’ Orpheus. Mullins is the real discovery here for me. I never saw the Australian Jagged Little Pill (I’m not a fan of that show), so I had only seen him in a minor role in La Cage aux Folles. His clear tenor voice and boyish charm sell Orpheus as an adorable but callow artist. The character’s dismissive errors are the result of youthful ignorance, rather than rude disregard. Mullins himself was giving me strong Joe Locke (Heartstopper / Agatha All Along) vibes. From the audience’s screams, it’s clear he’s already become a soft-boy superstar.

Things get a bit uneven with our narrator and guide, Hermes. Christina Anu is vocally dynamic, but her acting performance lacked the crowd-rousing charisma required and never fully explored the depths of the role. In a sea of excellence, she comes off as “good.” Admittedly, I’m judging her against the legendary André De Shields who really showed what the role can be… it’s a tough act to follow.

As mentioned, the current UK production lets performers use their own accents, adding texture to the show. The same happens here, though many of the cast slip into “generic American” when singing. It’s a shame. I would have loved to hear the score with full Aussie/Missy Higgins tones.

Rachael Hauk’s design continues the “Brooklyn chic” trend of shows like Once and Hamilton — all wood and exposed brickwork, with an added touch of steampunk. A giant rear lighting rig (lighting design by Bradley King) amps up the rock concert drama in a way similar to the recent Jesus Christ Superstar. Like that show, Hadestown balances between a concert/cabaret and a fully-fledged Broadway musical, with plenty of fourth-wall breaks and direct narration. The choreography by David Neumann is suitable, but the dance break in ‘Livin’ It Up On Top’ feels like it’s filling time rather than being impressive in its own right.

It’s still early days for Sydney’s Hadestown, and it feels like the production has room to settle in and loosen up, becoming more organic in its delivery and storytelling. Given time it will relax into its groove more. The score is bulletproof, and this cast does it justice. Even after two viewings I suspect I’ll be heading to the Theatre Royal a few more times. After all, “it’s an old song, but we’re gonna sing it again.”