5 years after its sold out run at the National Theatre, Hadestown made a triumphant return last night. The Tony® Award winning show is ever-changing thanks to writer Anaïs Mitchell and director Rachel Chavkin, who did not disappoint by showcasing English and Irish voices, making for a much more personal and truthful show to the British audience. Honesty and heart were at the core of the production and everything from the acting to the direction, set design, music and lighting contributed immensely.

The ingenuity of the show lies in the balance between its accuracy to the Greek myth and also the license to colour in the blanks in order to tell a human story. Mitchell is unfortunately bound by the events of the myths, being a young musician Orpheus travelling to hell to save the woman he loves Eurydice by the power of music. Hades, ruler of the underworld, falls in love with a lady flower picking in the sun Persephone and takes her to the underworld, allowing her to return to Earth every 6 months and bringing the sunshine with her, thus creating the change of the seasons. The intertwining of these stories, matched with the reflection of today’s events is nothing short of remarkable. Mitchell manages to involve ties of climate change as the world descends into darkness upon Hades’ early collection of Persephone, while portraying Hades as a factory foreman and industrialist – who’s workers are mining the earth for anything valuable and building a “wall” to keep them “free”. The parallels are striking.

To anyone who knows the story, it is heartbreaking no matter how you tell it and Mitchell lets on to this at the opening and close of the show saying it is a “sad story” but they tell it “again and again”. Foreshadowing the genius of having Orpheus enter at the end of the play the same way he does at the start, creating a cyclical timeline. Though she cannot change the events of the story, the way she tells it is remarkable. You find yourself truly rooting for the two sets of lovers, hoping it won’t turn out the way you may know it does. The moment in which Orpheus turns to see if Persephone is still behind him, thus failing the trial Hades set him and sending Eurydice back to hell indefinitely is heart-wrenching and the moment holds beautifully in the theatre as all sinks in as to what has just happened. Although it is a sad story, there are some funny, brilliant and beautiful moments throughout. Orpheus and Hades both producing a rose to their loved one through the power of song is particularly poignant.

Donal Fínn is gives a remarkable Orpheus with such sensitivity, heart and Irish charm, you can do nothing but want him to win. Grace Hodgett Young again provides such a truthful Eurydice with powerful vocals. Zachary James’ low notes gives Hades a pure reverence and gravitas that was much needed, while Gloria Onitiri is a joy to watch, the dynamic between her and Hades humanises them both to be much easier understood. The rest of the cast’s individuality is what made them such a strong ensemble.

The fates had such personality, while the workers felt personable making you root for them that much more when they aim to regain their identity. However, we cannot skip one of the powerhouses of the show, Melanie La Barrie as Hermes the narrator role of the show. Her presence, style, humour and talent displayed to the fullest, creating a character you didn’t want to leave the stage. Jacob Sparrow has worked wonders casting this show.

The on stage band gave a jazzy speakeasy vibe to the show and although they are applauded and recognised mid show, they definitely don’t get as much recognition as they deserve. The band were phenomenal, including Donal Fínn who’s guitar playing was the gift we didn’t know we needed. Liam Robinson, Michael Chorney, Todd Sickafoose, Nevin Steinberg, Jessica Paz and music director Tarek Merchant have worked masterfully to create the orchestrations, arrangements and immense auditory moments throughout the show.

The world Rachel Hauck, Michael Krass and Bradley King have created visually is outstanding. The way the set expands as they descend into hell revealing an industrialised pit is so vivid you are engulfed in it. The drop down lights that David Neumann utilised brilliantly were a notable highlight. The whole set fit the show immaculately and the overpowering light and darkness contrast is utilised to the max.

Overall, Chavkin and Mitchell have created a unique version of Hadestown that definitely lives up to the myth.

⭐️⭐️⭐️⭐️⭐️