{"id":3917,"date":"2018-11-22T17:21:22","date_gmt":"2018-11-22T17:21:22","guid":{"rendered":""},"modified":"2022-02-12T21:07:42","modified_gmt":"2022-02-12T21:07:42","slug":"hadestown-at-londons-national-theatre-a-riveting-epic-of-love-deathand-capitalism-html","status":"publish","type":"post","link":"https:\/\/laughfrodisiac.com\/2018\/11\/22\/hadestown-at-londons-national-theatre-a-riveting-epic-of-love-deathand-capitalism-html\/","title":{"rendered":"Hadestown at London\u2019s National Theatre: A Riveting Epic of Love, Death…and Capitalism"},"content":{"rendered":"

\"Picture\"<\/a><\/span><\/p>\n

It\u2019s Theatre Thursday! And it\u2019s Thanksgiving, so today we are talking about a show I\u2019m thankful for, quite \u00a0possibly my favorite show<\/em>\u00a0right now, Hadestown.<\/em><\/p>\n

As with our recently reviewed Twelfth Night<\/a>, I\u2019ve been waiting a while to see what everyone in New York has been raving about regarding this modernish musical retelling of the Orpheus and Eurydice myth. People said that if Hadestown had opened on Broadway last season, it would have beaten The Band\u2019s Visit for the Tony, and I was like \u2018Umm Kulthum is that possible?\u2019 Turns out, much as I stan TBV, yes, it’s true. Hadestown is one of the greatest shows in years and years, and is destined a classic that will never cease to amaze.<\/p>\n

It’s such a great concept. I\u2019m a huge mythology buff, and I still remember the words to the title song from our fifth grade mythology play \u201cIt\u2019s All Greek To Me\u201d (forking excellent<\/em> title, right?). My favorite line was \u201cZeus was their king and Hera was their queen\/sometimes they were wonderful sometimes they were mean.\u201d So true guys. And one of my many roles (I was a child star) in that play was Persephone\u2019s best friend, so her myth has always been special for me. Combining the familiar mythology with an original score (and some mythological bendabouting), Hadestown seems pretty brilliant on paper, and turns out it\u2019s extremely brilliant in real life. It\u2019s the only musical in London producing such thrilling theatrical magic onstage that feels incredibly new and fresh, all while being not only an interesting take on a classic romance but also an allegory of capitalism vs. socialism. I KNOW.<\/p>\n<\/div>\n

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Before we get to the show, I need to share a little glimpse into my brain. A few weeks before our performance, Husbo P asked what it was about. And I said \u201cOh it\u2019s like a retelling of Orpheus and Eurydice with all original music by Anais Nin!\u201d Husbo P, being a man of knowledge, said, \u201cUm, that can\u2019t be right\u201d, and I, being a woman of nonsense brain, said in an impression of Yente from Fiddler, \u201cRight? Of course right!\u201d and Husbo said, \u201cAnais Nin has been dead for decades. Is it old music? Did she even write music?\u201d and I, being stubborn, said \u201cWell of course she wrote music because she wrote this!\u201d and Husbo said \u201cWell still, I think she died in the \u201870s\u2026\u201d and I said \u201cWell this was written fairly recently.”<\/p>\n

Reader, Anais Nin, a French-Cuban-American writer, indeed died in 1977. I meant Anais Mitchell.<\/p>\n

So, with an original, enthralling score by Anais Mitchell<\/em>, Hadestown tells of how Orpheus and Eurydice, two poor dreamers trying to make their way in this world (or maybe just find food), fall in love but get swept into the orbit of Hades, the god of the Underworld. They attempt to solve the age-old struggle of tragic love stories: the strength of love against the power of death. Okay that might be a direct quote from Once on This Island<\/a>\u00a0but it works here, except instead of just the power of death, O&E are also testing love\u2019s strength against the god of death. Okay that\u2019s in Once on This Island too. (Hey,\u00a0as Hermes sings in the beginning, \u201cit\u2019s an old song, but we\u2019re gonna sing it again.\u201d)<\/span> Well they mainly test love against doubt in that love, which here is even more insidious and devastating than death.<\/p>\n

Our lovers meet in a caf\u00e9 that could have begun La Boheme (too early for Rent). The vibe of the opening music is very jazzy, like old-fashioned steampunk-as-portrayed-in-the-Bad-Place with Hermes singing how \u201con the road to hell, there was a railroad line”. The buzz in the room is undeniable, the excitement created by this jazz-age throwback. It sets a fun and intriguing tone for the show, which rarely has a low point or misstep in score, book, direction, anything. Todd Sickafoose\u2019s orchestrations are wonderful too. Okay I don\u2019t really know too much about orchestrating but I needed to mention that last name because it\u2019s how I imagine Samuel L. Jackson yelling on a plane if there were too many fools onboard. (I\u2019M SICK A THESE MUHFU**ING FOOS ON THIS MUHFU**ING PLANE I\u2019M SICKAFOOSE \/end scene.)<\/p>\n

As for that direction, as helmed by Rachel Chavkin, who staged my beloved Natasha, Pierre, and the Great Comet of 1812 on Broadway, Hadestown comes alive with great use of the space. I loved the efficient, effective use of the turntables and especially what\u2019s in the middle of them. And at a few moments, Chavkin\u2019s genius shines through with actually jaw-dropping brilliance, most notably during Hades\u2019s powerful song \u201cWhy We Build a Wall\u201d. The staging and sound mixing at this moment was the high point of the production. This is where Chavkin\u2019s command of space, as we saw in Great Comet, shone the brightest (along with the bright lights). It\u2019s a spellbinding performance of a riveting and relevant song. I couldn\u2019t blink during this song, since it was the kind of theatrical magic you hope to experience a few times in your theatre-going career. The song, despite being written in 2010, feels like a direct response to the current political climate. The incredible staging of that scene was, to quote the Great Comet, \u201creally beyond anything.\u201d<\/p>\n

Really, the whole show feels like a response to daily politics, and it’s continually surprising that it wasn’t written in the past week. Hadestown uses the well-known Orpheus tale and all the stories that swirl around Hades to weave a political allegory representing the evils of capitalism and the potential of socialism. It\u2019s a remarkable thing to discern the layers in this musical, and realize it’s so much more than a retelling of a familiar love story. While it’s standard for theatre to respond to the politics of its age, it\u2019s rare for a show to do so actually well, and while maintaining pure brilliance and beauty.<\/p>\n

The material would stand with anyone, but this cast is truly off the charts flawless. As Orpheus, Reeve Carney (best known for not dying in Broadway\u2019s Spider-Man) is ideal as the skinny white emo boy who thinks everything could be solved with one great love song (*cough* Roger from Rent *cough* (except unlike Roger\u2019s \u201cYour Eyes\u201d, Orpheus\u2019s love songs are actually good (good, they are insanely great))). Some people might say his voice is the weakest, but it’s like a reed, it’s thin but deceptively strong. He\u2019s so well cast, and he deserves credit for carrying the show. No one has even close to his amount of stage time. As Eurydice, Eva Noblezada (who blew us away a few years ago as the newest Miss Saigon) is adorable and winning, although I wish her impressive voice got a song that actually showed it off to its full extent more that just the last bit of Wait for Me II (although, admittedly, holy crap, it’s my favorite 20 seconds in modern musical history). Patrick Page (also didn\u2019t die in Spider-Man yayyy), with his truly otherworldly voice, seemingly coming from depths not of this earth, is the perfect Hades. Especially during \u201cHey Little Songbird\u201d, his incredibly deep bass makes the predatory tinge of this song even more disturbing and upsetting. You can feel the lowest notes of his range in your soul, shattering any sense of calm you might have.<\/p>\n

My favorite performances come from Amber Gray as Persephone and Andre de Shields as Hermes. Gray, with that unique raspy voice that somehow becomes clear and strong whenever she needs it to be, is a surprising Persephone, strong and opinionated after a long life spent between two worlds. We meet her at a point in her story much later than anyone has seen before. She brings down the house with her Act II opener \u201cOur Lady of the Underground\u201d, which will make you wish this show was running in rep with a one-woman show about Persephone.<\/p>\n<\/div>\n

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But the coolest cat on that stage is legendary Andre de Shields (also known as the original Wiz) as Hermes, gallivanting between the mortal and divine realms as only Hermes can. And as only Andre can, he commands the stage with his joyful movement, his soulful singing, and his ability to command your attention even when he\u2019s in the background.<\/p>\n

The cast also includes a spectacular ensemble. Chavkin\u2019s Great Comet cast raised the bar for diversity on stage, and here she is again doing what she does best: challenging the rest of the theatre world to do better. And it\u2019s not just an issue of diversity in ethnicities \u2013 her shows are also the only ones to have diversity in body types, something that truly should be commended yet is rarely talked about.<\/p>\n

This is the first show in a while that I can\u2019t wait to see again. It\u2019s emotionally exhausting to watch (I can\u2019t imagine how it is to perform) but in a great way. You know I hate not having anything to complain about but this show is extraordinary. It is by far one of the most compelling and gorgeous scores in modern musical history. A heartbreaking work of staggering genius, really.<\/p>\n

INFORMATION<\/u><\/strong>
\nHadestown is playing at the National Theatre\u2019s Olivier Theatre until January 26, after which I hope it will be transferring to Broadway, where it is sorely needed.<\/p>\n

Seating: The Olivier theatre is a big ol\u2019 barn but there aren\u2019t really any bad seats. It\u2019s a huge semi-circle around the stage, so it feels like there are three sides of the stage to sit on. I chose the extreme stage right aisle in the stalls and it was a perfect view, but there are really bright lights that shine directly into your eyeline in the first 10 or so rows, so that sucked. Go farther up or more into the middle (which blows if you like aisles).<\/p>\n

Stage door: All the leads came out and signed and took pictures except for Amber Gray (sob), who I believe does not ever stage door. Andre de Shields was the coolest, nicest person to ever talk to and it was honestly an honor.<\/p>\n

Oh I do have a complaint: The show art pictured at the top is GORGE, yet the programmes (which you pay for here) are super boring black and white, just with the title printed and nothing else. I demand a sad-rose programme.<\/p>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

It\u2019s Theatre Thursday! And it\u2019s Thanksgiving, so today we are talking about a show I\u2019m thankful for, quite \u00a0possibly my favorite show\u00a0right now, Hadestown. 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And it\u2019s Thanksgiving, so today we are talking about a show I\u2019m thankful for, quite \u00a0possibly my favorite show\u00a0right now, Hadestown. 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