Acclaimed modern musical Hadestown exudes sinister, seductive atmosphere in its premiere Australian tour. 

Winner of an impressive haul of eight 2019 Tony Awards, including Best Musical, Hadestown is exactly the kind of supremely artistic fare that Broadway likes to celebrate.  Boldly breaking the mould from Golden Age musical comedy stylings, Hadestown is heavy on potent atmosphere if a little light on story.

The titular Hadestown is the underground domain of Hades and his wife Persephone, visited by a distracted Eurydice who suffers in a financially-challenged relationship with burgeoning young poet Orpheus. 

Frequently referenced in popular culture, the Greek mythology at the heart of Hadestown has been seen from Gluck’s Orfeo ed Euridice to the eternal winter of Severance while Gemma remains underground.

Blessed with the rare talent to write book, music, and lyrics, Anaïs Mitchell has collaborated with director Rachel Chavkin to craft a sung-through musical that is by turns romantically and politically charged. 

Orpheus and Eurydice meet cute and promptly fall in love. Orpheus’ devotion sees him follow Eurydice to the netherworld, his love facing its strongest test when Hades insists Orpheus lead Eurydice back above ground without ever turning around to check she is following him. 

Painted as a dark overlord of commerce, Hades’ armour is pierced by the memory of falling in love with his wife Pershephone. 

The musical weaves subtle yet potent messages of environmental change and corporate corruption, also reflecting the time of its writing by deriding the futility and cruelty of a building a wall. 

Director Chavkin cultivates the relaxed tone of a troupe of players assembled to tell a story through song. The musical boils down to a slight story that is thinly spread over two and a half hours (including interval). Chavkin holds audience attention through fascinating character portraits and tense, relatable dilemmas. 

Choreographer David Neumann supports the relaxed vibe with dance that feels spontaneous and improvised, much as it is actually very well rehearsed and performed. 

Mitchell’s music is instantly engaging and accessible, flowing smoothly from song to song. Intelligent lyrics tell the story with only the bare minimum of spoken words occasionally used between songs. 

On piano, music director Laura Tipoki leads six fellow musicians, all of whom (besides the drummer) are on stage in costume as part of the action. There is the feeling of being at a concert gig, with the musicians each introduced by name at one point, and each having their own (well deserved) bow at the curtain call. Special mention to Griffin Youngs on trombone, who performs some fabulous solos with terrific panache. 

Performed on an unchanging single set, by scenic designer Rachel Hauk, vital visual variety is provided by lighting designer Bradley King. Using multiple embedded lights and rich vibrant tones, King paints the textured plaster walls in cool or warm shades as the story moves between earth and the underworld. 

Christine Anu leads the company with understated flair as ringleader / narrator Hermes. With the grin of a Cheshire cat, Anu oversees an atmosphere of mystery and enchantment.

Rising young actor Noah Mullins is splendidly cast as Orpheus, perfectly capturing the innocence and vulnerability of the “poor boy.” Mullins sings Orpheus’ compositions in a sweet falsetto, switching to a fuller bodied tone when Orpheus takes charge to bring Eurydice home. Extra points to Mullins for the times deftly accompanies himself on guitar. 

At this performance, the role of Eurydice was played by Afua Adjei. A gifted young singer, Adjei convincingly conveyed the ambition and drive beneath the tender youth of Eurydice. A key highlight for Adjei was act two ballad “Flowers,” sung on stage alone with affecting power. 

At this performance, the role of Persephone was played by Sarah Murr. In a standout performance, Murr expertly captured the glamour and capriciousness of the goddess, balancing this with Persephone’s beating heart of empathy and compassion. 

Well established on the opera stage, resounding bass Adrian Tamburini makes his presence keenly felt in the realm of musical theatre with his compelling performance as Hades. Key to the success of Tamburini’s performance is the character arc he achieves between the man’s insidious control of power and the warm heart of romance he shares when Hades melts at hearing Orpheus’ song and reunites with Persephone. 

An ensemble of three Fates and five workers is filled by eight triple threat performers who each establish a clear and vital stage presence. 

A different style of show that contributes to the rich tapestry of musical theatre, Hadestown is confidently staged and performed at the high standard that is an ongoing and reliable feature of Australian casts. 

Hadestown plays at Her Majesty’s Theatre, Melbourne until 13 July 2025, For tickets, click here.

Photos: Lisa Tomasetti