Regular visitors to my blog may remember that I went to see and reviewed “Hadestown” less than 12 months ago. It isn’t often that I revisit shows so soon, but the promise of seeing the original Broadway cast was too tempting an opportunity to miss. Highly regarded thanks to the OBC recording released in 2019, the original cast members have been brought back together for a limited run, some performances of which have been recorded, so we can expect a cinema release at some point in the future. The rest of the production, including the set, choreography and many of the ensemble workers, remain the same as when I last saw it, so this review will focus solely on the actors, who more than lived up to their Broadway notoriety.
The production does not go out of its way to particularly spotlight the five Broadway actors invited across the sea to reprise their roles. The nature of the show means that all actors begin sat on the stage, and the five actors enter at the same time as the rest of the cast and the band, meaning that there is no special applause or cheers for them. As soon as they begin to perform, however, it is clear that there is something special in the way they act, sing, dance and effortlessly bring these characters to life. These are characters that they are incredibly comfortable playing, and it is hard to imagine anyone else doing the role as perfectly.
As our narrator for the piece, André de Shields has incredible stage presence as the messenger god Hermes. He struts about the stage, his performance sophisticated, elegant and so very cool. At 79 years old, there is a certain frailty to his performance – his movements are occasionally slow and a little unsteady – but he more than makes up for this with the power in his voice. His final note of opening song Road to Hell is enough to remove any fears that he may be “past it” – this is a man who is on his A-game, and there is a still a youthful sparkle in his many asides to the audience.
Eva Noblezada is able to capture Eurydice’s naivety whilst also maintaining that undercurrent of fire that is necessary for the role – regardless of how hungry or desperate Eurydice gets, she never loses her eagerness to fight, and Noblezada conveys this perfectly. Her rendition of Flowers is an emotional high point, whilst her contribution during the reprise of Wait for Me is sure to get the adrenaline going. At times I felt her vocal gymnastics, whilst incredibly impressive, were a little unnecessary – I would have preferred a more measured, restrained performance that may have allowed the lyrics to better convey the emotion – but there is no denying Noblezada’s talent.
Her chemistry with Reeve Carney’s Orpheus is beyond doubt. Carney’s take on Orpheus casts him as cheeky and innocent, often stating the obvious is ways that are sure to raise a laugh from the audience. Carney’s voice is so unique, it is almost otherworldly. The high notes that he hits during Epic III make the song entrancing and hypnotic. What makes him even more loveable is Carney’s humble nature, almost embarrassed by the cheers and whoops as he finishes each song. Carney’s performance of Orpheus will define the role for a long time, and it is clear to see why.
Turning to the gods, Amber Gray’s Persephone is bold, brash and exhausting to watch. She never lets up, putting all her energy into a whirlwind of a performance that will leave you breathless. Her Act 2 opener Our Lady of the Underground sees her fling herself around the stage that it is a wonder she has anything left for the rest of the play. Her relationship with Phillip Boykin’s Hades feels messy, destructive and real, whilst Gray and de Shields share some sweet moments throughout, often strolling the stage arm in arm. Gray is clearly having fun in the role, and still seems to be experimenting, trying new things out with a performance that feels fresh and new, despite the fact that she must have performed these songs hundreds of times before.
Phillip Boykin as Hades faces a difficult job. Brought in last minute to replace Patrick Page, who had to withdraw from the show due to an injury, Boykin finds himself playing to sold out audiences who purchased their tickets expecting to see someone else. But let me dispel any doubts anyone may have – Boykin is Hades. He is perfect for the role, and his opening line “I missed you”, growled at Persephone during Way Down Hadestown sets the tone for this killer of a performance. Whilst he finds moments in the play to mimic Page’s deep voice, Boykin’s Hades brings an extra smoothness to the lyrics. His rendition of Hey Little Songbird feels more melodic, more seductive rather than intimidating. And yet, when he starts berating Orpheus during Papers, he is powerful, scary and utterly captivating. Boykin is truly a highlight of this production, and whilst I am obviously gutted to not see Patrick Page reprise the role, I feel very privileged to have been able to see Boykin’s rendition instead.
Bella Brown and Madeline Charlemagne continue in their roles as the Fates from last year, joined by Ryesha Higgs, and all three more than match their Broadway counterparts, bringing a lot of fun to the show, their rendition of When the chips are down as enjoyable as ever. The band are also on top form, and are continually celebrated and highlighted throughout the show by this new cast, particularly trombonist Daniel Higham, who comes onto the stage to enjoy some dancing during Livin It Up On Top.
There are plenty of moments exaggerated for the fans. From the off, Hermes knows exactly what the fans are excited for, taking his time to unbutton his jacket, and making people wait for that initial “Aight?” that kicks off proceedings. Phillip Boykin chooses certain lines to drop his voice even deeper, relishing the cheers from the audience as he does so. The poem recited by Orpheus during Livin It Up On Top carries extra weight given recent world events, and the final line sees all actors break the fourth wall and turn to raise their cups to the audience:
She will always fill our cups
And we will always raise them up
To the world we dream about
And the one we live in now.
A truly sobering moment amidst a song that feels so joyous and uplifting.
If I haven’t made it clear by now, I can safely say that this is a mind-blowing performance which sees all actors knock it out of the park. Anyone who is a fan of the OBC soundtrack will not be disappointed, and anyone who is coming fresh to the show will have a blast too. This is truly one of my favourite theatrical experiences ever. Hadestown is not a perfect musical, but this is a near-perfect rendition. Thank goodness the cast agreed to reprise their roles and sing this sad song again.
Tom Morley, March 2025
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