Hairspray at the Wales Millennium Centre in Cardiff was an absolute whirlwind of fun, energy, and infectious joy. This production captured the essence of the 60s with a vibrant, colourful, and over-the-top spectacle that left the audience cheering and dancing in their seats.
From the moment the curtain rises, you’re transported to Baltimore, where the rhythm of the music and the infectious enthusiasm of the cast immediately grab your attention. The iconic songs, including “Good Morning Baltimore,” “Welcome to the 60s,” and the show-stopping finale “You Can’t Stop the Beat,” were delivered with powerhouse vocals and impeccable choreography.
The heart of the show, of course, is Tracy Turnblad, played by Alexandra Emmerson-Kirby in her professional debut. She was just sensational. Her incredible voice made her the perfect embodiment of this beloved character. The supporting cast was equally impressive, with standout performances from Edna Turnblad (Neil Hurst) and Wilbur (Dermot Canavan) certainly stole the show with “(You’re) Timeless to me”. Michelle Ndegwa also made her professional debut in the show as Motormouth Maybelle having been selected from more than 3,000 people who applied to the open auditions in November last year. “I know where I’ve been” is such an emotional number and to perform it in the way Michelle did, wow!
The set design was simple but visually stunning, capturing the spirit of the era with colourful projected backdrops and eye-catching costumes. Most touring shows follow the same process – and Hairspray delivered. The choreography was energetic and fun, with the ensemble dancers bringing a high level of skill. The show start seemed a little laboured and it probably wasn’t till the second number things started to gel.
I’ve said that I believe Hairspray has one of the most incredible show finales – even better than Les Misérables – granted no one dies in Hairspray and it would be like comparing a Mini with a Porsche. But it certainly leaves you with a smile on your face and a spring in your step. It’s a feel-good show that’s the perfect antidote to a bad hair day!
Venue Cymru, Llandudno July 30th – Aug 4th 2024 and touring
(5 / 5)
Irene Sankoff and David Hein
Smith & Brant Theatricals, Red Hanger, Gavin Kalin Productions, Tulchin Bartner Productions, Echo Lake Entertainment, Square Peg, Stephen and Paula Reynolds, Fiery Dragons, Judith Ann Abrams/Peter May, Nancy Gibbs, Curve Leicester
Come from away documents a remarkable experience. As the tragedy of 9/11 unfolded and American airspace was closed, many planes had to make unscheduled landings in far flung places. 38 of them landed at Gander airport, Newfoundland.
With a population of about 9000, the local community found themselves hosting 7000 unexpected incomers with a range of different languages, customs, medical and dietary needs. There were also 19 animals including a pregnant bonobo ape. This was a refugee scenario where the hosts were entirely unprepared. The days that followed demonstrated the best in human qualities. Food was drummed up, beds found, activities were organised such that lasting friendships were formed that have been sustained to this day.
Would the stage be the best place to retell these events or would a film be better? On the evidence of this performance, the energy and immediacy of the stage is a great platform and the cast exploited this story in excellent fashion. It was a prime example of ensemble theatre, a close knit team working together in a fast moving, intense drama. Actors do an outstanding job as they switch roles from hosts to incomers seamlessly and retell these events and their aftermath. There is a great backing group playing a range of Irish-Canadian melodies to enhance the action.
The individual stories invoke a range of emotions when you hear them. Diane and Nick were on the same plane, met and the following year got married. Hannah was worried for her son, a firefighter in Brooklyn yet was comforted by Beulah who also had a firefighting son. It is in the minutiae that the poignant moments rest. A moment when a Christian song, a Muslim chant and a Jewish incantation are heard as people pray, emphasising the importance of faith in coming to terms with life experience. A scene where an older gentleman reveals to a Jewish rabbi that he had a hidden Jewish background dating from his early life in Poland. Two people communicating through the use of Bible references to encourage each other when they had no shared language.
The welcoming nature of this Canadian-Irish community is graphically shown in the ceilidh held one night. It saw some visitors inducted as honorary Newfoundlanders through ‘screeching in’, drinking a shot of Irish whiskey and kissing a fish, a custom used to welcome new cast members to the show. This to me is an enduring legacy of a must-see show, the power of community. Had this town not been as tight nit and warm in its embrace, the experience of the incomers might have been quite different. As it is, they felt an immense debt of gratitude but in attempting to express this, received a standard response, ‘It was nothing, anyone else would have done the same.’ It was not nothing, it was remarkable. This makes the show a privilege to watch.
The Cardiff Open Air Theatre Festival’s final adult production is in full swing with ‘Guys and Dolls’, bringing Broadway to Wales in this electrifying, toe-tapping good time. The Theatre Festival’s musical option brings something unique yet, as always, high-quality to the proceedings, making for another crowd-pleaser as the festival draws to a close. All of this year’s performances have been nothing short of wonderful, and this show is another high point in a series of successes.
‘Guys and Dolls’ follows two couples, the new love between Sky Masterson (Josh Lewis) and Sister Sarah (Elle Dance), and the long-time love between Nathan Detroit (Kristian Zgorzelski) and Miss Adelaide (Rhian Morwood). The core four are all impressive, with great chemistry, and each of them handle both the drama and the comedy with ease. And to boot, their renditions of the show’s songs are all very impressive. A favourite of mine was Dance and Morwood’s performance of ‘Marry the Man Today’, their unique vocal skillsets come together in an incredibly satisfying way. The people that make up show’s heart and soul are thoroughly convincing and undeniably talented.
The highlight of any musical is the songs, and the cast brings the iconic music of ‘Guys and Dolls’ to life with great performances across the board. The solo performances are natural standouts, but the songs with more of an ensemble really highlight just how well-done the production is, with creative choreography and a fun energy. When there’s singing and dancing, there’s never a dull moment, the atmosphere was very fun to be in.
The staging was full of little changes and quirks between scenes, such as a swivelling sign and a moving tunnel, that were subtle yet seamless, and effective at creating the atmosphere. There was even a level of audience immersion, with the ensemble walking around us in our seats and even interacting with a few lucky guests, which made me feel like I was very much part of the party. By the show’s conclusion, the audience were fully roped into the experience, the energy during ‘Sit Down You’re Rocking the Boat’ was incredible.
‘Guys and Dolls’ feels like the ultimate victory lap for another successful year of the Cardiff Open Air Theatre Festival. It is further proof of the high marker of quality that the festival has, and it fully shows off their ability to consistently create effective drama and great crowd-pleasers. With its spectacular show-stopping, all-singing, all-dancing, Broadway style, this is not one to be missed.
Venue Cymru, Llandudno July 1st – 6th 2024 and touring
(4 / 5)
David Ian for Crossroads and Work Light Productions with Nederlander Producing Co. UK with Michael Watt presenting the Regents Park Open Air Theatre Production
Lyrics by Tim Rice and Music by Andrew Lloyd Webber
What’s the fuss? Tell me what is happening.
Telling the story of the last week of the life of Jesus through the eyes of Judas was an original, imaginative idea when this musical was first produced in the early 1970’s. Would this staging of Regents Park Open Air Theatre’s revival recapture that early promise? Owing to the nature of this story, this would be a near certainty. To recreate the crucifixion of Jesus on stage, if done well, can not fail to be dramatic and this production adds plenty of imagination to this already thought provoking musical.
The cast attacked this story with elan, Luke Street who played Judas in this performance was suitably moody and filled with angst. The moment when he took the payment for his betrayal was done very well. Ian McIntosh as Jesus grew into his role and provided some stand out moments especially as he was praying in the Garden of Gethsemane shortly before his arrest. Strangely though, Jesus is portrayed as a vulnerable man who is struggling to come to terms with his fate throughout the play. However, aside from his episode in Gethsemane, Jesus was in control and walked knowingly towards his fate, scathing to those who attempted to deflect him.
The choreography was well planned, purposeful and added to the drama. The set put the cross at the centre of the production, although it was odd that the chief priests walked on an instrument of torture that in Biblical times was a symbol of being cursed. They would have been ritually pure therefore would never knowingly touch such an instrument of death.
The musical is stuck in a time warp to some extent, the music and lyrics resonant of the early 1970’s and since then some of the stories concerning Jesus are less well known. It would help to have a good working knowledge of these biblical events. However, it was great to hear this score once again as some of the songs have become favourites for many. Hannah Richardsons rendition of ‘I don’t know how to love him’ and ‘Everything’s alright’ were beautiful.
It is easy to see the play is not without its problems including the logical flaw in its premise. Telling the story through Judas’ eyes is an intriguing idea, but of course, he was not around to see the crucifixion having already killed himself. He is the side story. The power in this story is not the actions of Judas, but what happened to Jesus. Even then, crucifixion in itself is not significant. It is just another, particularly grisly form of execution. One Roman commander crucified 500 people in one day. He would have killed more but ran out of wood. It is the death of Jesus that is significant and it is what happened to, and about Jesus after his death that makes this any story at all. To give Judas a sort of equal billing as Jesus after their death, sitting down together in the afterlife as the last scene depicted seems very strange.
However, we should not let factual relevance get in the way of a good story and this remains a striking piece of theatre that brings more awareness of the death of Jesus to the general public. While it may not be doctrinally sound to those who profess faith, it avoids being offensive as some other plays or films have been. The first time I saw the play if became a memorable experience. This too will stay in the memory for a while.
It’s always a challenge to bring something new and different in a Jukebox musical, where some, if not all, of the audience are going to know (and want to sing along to!) the songs. What is refreshing about The Drifters Girl is that it comes at the story of The Drifters from a completely different angle; that of Faye Treadwell, the woman behind the infamous band. Faye and her husband, George were the duo who brought us the musical sensation and it is really a breath of fresh air to focus on the duo and, specifically, the woman behind the music.
The stage is well designed, with moving flats creating recording studios, stages, bars and the office of Atlantic Music. I especially loved that the projections behind the performers crackled with static and black lines, the image distorting slightly and reminiscent of 50s and 60s television. The set moves seamlessly behind the actors meaning that new scenes and areas are created with no distraction to the action. Projection is particularly well used in the very funny section where we see the tumultuous time in the Drifters history where the members of the band were repeatedly changing; their names projected behind them as we manically try and keep up with these rapid shifts. Light and sound is also clever; I thought this was particularly poignantly used in the police interview sections, where bright white lamps flashed, and rapid blackouts took us straight to an Arkansas police station where the band were wrongly accused of a crime, simply due to the colour of their skin. Lighting was used to great effect with beautiful tableaus capturing the emotional moments; the band cast in blue light, spotlights, in darkness, whatever the moment called for.
The music is obviously a highlight of the show with toe-tapping numbers, including Saturday Night at the Movies, Come on Over to my Place, Save the Last Dance for Me and many more. The performers raise the roof with fantastic vocals and slick dance routines capturing the essence of the original performances. The Drifters switch with ease, becoming Ben E King, Rudy Lewis, Clyde McPhatter, Johnny Moore and the various other members of the band. It doesn’t matter which one takes the lead singer role; Ashford Campbell capturing starstruck Ben and tragic Rudy, Tarik Frimpong electrifying with his dance routines as Clyde and Daniel Haswell belting the high notes with ease as Johnny. Taking on the key role of George Treadwell is Miles Anthony Daley, breaking our hearts with There Goes my Baby, his voice soaring. The physicality and fast-pace costume changes is incredible to watch. Once minute they’re in the band, the next they’re feather clad showgirls! But throughout it all, you are never in any doubt as to which character you are watching.
The boys are complemented well with ‘The Girl’ played ably by Jaydah Bell-Ricketts, encouraging the tale to unfold; she is a constant presence on stage as she comes to understand the story of her mother’s part in the band’s history. Last and by no means least, is The Drifter’s Girl herself, Faye Treadwell played by Olivier Award Winner, Carly Mercedes Dyer. Her voice is wonderful, especially during Harlem Child and I Don’t Want To Go On Without You. You could hear a pin drop in the theatre as her vocals soared. She perfectly captures the battle that Faye Treadwell faced not only as a woman, but as a black woman in the music industry. Her command of the stage during her musical numbers is a joy to watch.
The show is full of humour and heart, but also touches on the racism faced by the band and Faye but also the sexism of the industry towards Faye. The words ‘No Irish, No Dogs, No Blacks’ remind us all too well of our own very recent history of racism and the issues we still face to this day. Faye being asked ‘how long she has worked FOR the band’ and then asked, ‘which one are you sleeping with?’ reminds us that women still face this kind of question, even today.
It’s ultimate message as the audience got to its feet at the encore is that we must keep going and ‘do what is necessary’ to overcome whatever might be thrown at us. Faye’s determination that the Drifters would go on after losing her husband, in the face of outright prejudice and bigotry is still such an important message to be taken home with us after we leave our seats. So, this is more than your average jukebox musical, which is what makes it stand out amongst the likes of Mamma Mia and We Will Rock You. Yes, the music is wonderful, but the message is just as important as the songs that will draw those audiences in.
I’m not sure what to expect as I take my seat at The Riverfront in Newport. A tree trunk branching over a stage set with psychedelic colours and ready for a rock gig is the perfect set for this show. The true story of the greatest drugs bust in history bursts onto the stage with its actor-musician performers alive with energy and blowing the roof off the theatre, even in the opening number.
The loveable cast of characters are introduced through their instrumental solos; an eclectic mix of guitars, percussion, cow bell, oboe and more. They switch between instruments, being ‘in the band’ and in the show and even between characters with poise and speed, costumes change in the blink of an eye, accents alter and even the stage crew are in costume, moving the set on and off stage. This means we are instantly transported back to the events of 1975 and 1977 in rural West Wales, the music mixing perfectly with the sometimes barmy, but always heartfelt plot.
The action opens with Londoner, Richard Kemp in his lab, mixing his latest batch of acid, the one that will cause a catalyst that he hopes will change the world. The couple of Richard and Christine are excellently played by Joseph Tweedale and Georgina White and their singing voices are amazing; ethereal in places, singing the prog rock score with ease. From there, we are catapulted into the lives of Smiles and Buzz with a hilarious section of Buzz driving Smiles to pick up his acid from various locations. Gerry accompanies them in a surreal yet side splitting section, where we feel ourselves swerving with the ‘car’ as Buzz spins the wheel. More excellent voices and fantastic comedic chops come from Daniel Carter-Hope, Sion Russell Jones and Dan Bottomley.
We visit the various other locations of the story including the police station where the ‘chameleon’ of the piece Phylip Harries delights us as PC Evans (he also plays Wil Bach and Wright throughout the rest of the tale). The scenes alongside Kieran Bailey as Richie Parry are so well executed, the lines pacey and thick with local references that the audience love. Richie is the perfect opposite to Steve Simmond’s cockney copper, Dick Lee. They’re like the original odd couple, colliding worlds, and personalities in their efforts to execute the largest drugs bust in history. A highlight for me, (without spoiling the surprise), is Steve’s musical number at the end of act one; he definitely got the audience rocking! Finally, Caitlin Lavagna gives a multi-role masterclass as she switches roles (and costumes!) with ease between landlady, Sgt Julie, Meg and Anne Parry.
These talented performers navigate the material with ease, expertly directed by Geinor Styles, who also wrote the show after interviewing a range of people who lived through the events, including Smiles himself and Anne Parry, Richie’s long suffering wife. This lends an authenticity to the piece; the characters live and breathe on the stage, brought to life through excellent writing. The musical direction also brings out the best in this talented cast, the music of the time brought to life by Greg Palmer.
The show is very funny, but at the heart of it all is a story which pulls us right back to the modern-day issues we are facing now. Kemp’s moving speech at the end, intended for his court case, but never delivered, is poignant; emphasised by the images projected behind him as he speaks. This movement was not only about the drugs; it was so much more; it was the start of a revolution intended to make people sit up and listen to the very real world issues starting back in the 70s and that we are now facing in 2024.
I was sorry I missed this when it toured in 2022, so I am thrilled I got to catch it this time. This psychedelic, surreal, trip of a musical play makes us laugh, makes us feel joy but is counterbalanced with this powerful message that we are left with as the music fades. The real-life Smiles sums it up perfectly; hoping the play hits the right chords of the serious issues that the LSD was trying to tackle, but also hoping that the sheer joy of the time is captured. I think the audience members would definitely agree that Operation Julie hits these targets and a lot more. Catch it if you can on this limited 8-week tour!
Come From Away has been called one of the ‘best new musicals of the century,’ which is high praise indeed when you consider the sheer choice and variation of shows and, in particular, musicals, when you consider attending the theatre. This assessment, however, is truly well deserved, proven by the instantaneous standing ovation at the end of the opening night of Come From Away at the Millennium Centre.
The plot focuses on the true-life story of the town of Gander. Once the biggest airport in the world, Gander International was at the forefront of aviation, perfectly placed for planes to land to refuel during their transatlantic flights. Since those glory days, however, there’s talk of tearing down the airport as planes can now make their journeys on a single tank. However, the peaceful lives of the residents of Gander are shattered as 38 planes were diverted there due to the airspace being closed after the catastrophic terrorist attack in America on 9/11.
Starting with the staging; there is no safety curtain as we take our seats; the stage is set simply with chairs and tables. The band is on stage alongside the action. The back wall is simple, but projections create all the atmosphere we need; starting with clouds and transitioning as the show progresses to show us various locations and occurrences, such as small lights as the residents gaze up at the numerous planes landing. The simple set means that nothing detracts from the stories being told here. The chairs are moved around to create Tim Hortons where the Mayor sips a Pepsi and ‘gets the lay of the land,’ the rows in the planes or the seats in the school buses that escort the fearful temporary residents of Gander to their impromptu homes on the island. Lighting is incredible, with several moving tableaus perfectly highlighted by the creative placement and tones.
The music is uplifting, joyous and the hooks are infectious. The musicians being on stage and sometimes involved in the action is the perfect way to ensure that the music is well and truly integral to the piece. The pace is non-stop, the harmonies are perfectly placed, the voices are excellent and so heartfelt. Particular favourites of mine were ‘Welcome to the Rock’ which is a rousing opener, ‘Prayer’ which shows the diversity of the passengers on those flights so perfectly, ‘Me and the Sky’ which is Beverley Bass’ homage to her journey to becoming a pilot, and the hilarious ‘Screech In.’
The cast was wonderful and it’s hard to pick out one member as this is such an ensemble piece where every actor is equally as important. However, special mention must be made to Kirsty Malpass, the resident co-director and choreographer, who stepped in to play ‘Bonnie and Others.’ It really shows the importance of understudies, covers, and swings and epitomises that the ‘show must go on.’ Every cast member play multiple parts; the residents of Gander initially, then numerous, various passengers and the pilots and crew on those 38 flights. Each transition is seamless. You are never in doubt of which character is speaking; the change in accents is impressive, as is the Brechtian technique of adding a hat, jacket, or similar, to show that we are now seeing the story of a new character.
What Come From Away does so well is these stories. You feel for every single person delivering their tales. The real characters are presented with sensitivity and truth. The fictional ones too, show what those people went through being so far from home, maybe alone, scared, wondering about their loved ones and appalled at the visions unfolding before them on television screens. It does not shy from showing us the difficult things; the fear and suspicion of the Muslim Egyptian passenger, the difficulty with understanding one another’s language and culture, the overcoming of those issues and coming together because, when it comes down to it, we all ‘come from away’ and all deserve to feel loved, for our stories to be heard, for someone to hold our hands when we feel isolated.
So, is Come From Away truly one of the ‘best new musicals of the century’? It more than earns this accolade, in every note, every story portrayed, the way that we can still learn from it, even over 20 years after that terrorist attack. If anything, we need this musical more than ever, as it shows us that even as we stand ‘on the edge of a moment,’ perhaps in need or feeling alone, there is someone ready to make you feel like you belong, whether that is one person, or a whole community.
‘Bonnie and Clyde’ is based on the American outlaw duo called Bonnie Parker and Clyde Barrow. They were real life fugitives, in this production at The Wales Millennium Centre, Cardiff, Clyde had always been running from the law, and believed that the only way you could be free was to steal it. Bonnie seemed like a textbook perfect student, but when she met Clyde, they fell intensely in love, and she never left his side after that, she even helped him break out of jail. Once he got out, they were casually robbing places like banks together, and to show how romanticised they were by the public, in the musical, when they were robbing a bank, a hostage asked for their autograph. The crime began to escalate and when a store owner got killed, they had to go on the run. After about two years, they had killed at least 13 people, and the authorities finally managed to track them down, and they were shot and killed, at 23 and 24 years of age.
I didn’t know any of this information prior to watching the performance, I had only heard of their names as being somewhat related to crime. The story was very easy to follow, and you didn’t need to know any backstory to understand what was going on, which is always a plus.
During the production, there were lights dotted on the walls to the side of the stage, and whenever there were ‘gunshots’, the lights would flash at various points and there was an accompanying sound effect. The musical starts with these gunshots and Bonnie and Clyde’s car where they found their demise, and I think showing what happens at the end is effective in this instance, because the story isn’t about trying to figure out what will happen to them, it’s about the journey and Bonnie and Clyde’s deep connection.
Even though the music isn’t pop music or widely known, it immediately grips you. The score consists of gospel, blues, ragtime, and country, which is quite a mixture, but it blends very well, and suits the genre of the musical. Also, the singing was absolutely phenomenal.
As a whole, the diction was clear considering the accents, and every single actor did their job justice, as they all played their characters incredibly well. I didn’t particularly feel for Bonnie and Clyde’s characters, and I don’t think you are supposed to completely empathise with them, but I didn’t want them to be killed by the authorities in the end, I was rooting for them to turn their lives around. As Buck (Clyde’s brother) was telling Blanche, no one is too far gone for you try and help. He was living proof of it, because his relationship with Blanche was always bringing him back to reality and moral ground. Unfortunately, in the end, his love and feeling of responsibility for his brother got him shot not long before Bonnie and Clyde got killed, and I was crying as Blanche was crying over his body, convinced that he would survive if they could get back home in time.
Each of the actors put on a brilliant performance, their singing was top notch, and the story and music was written/ composed also brilliantly. I love how you can write a story about anything and feel a sense of connection/ empathy for anyone, no matter how morally corrupt they are in the end. The only reason it doesn’t get 5 stars, is because I want my soul to be ripped out, and it didn’t quite do that for me, but I still enjoyed all parts of it and would choose to see it again.
Venue Cymru, Llandudno March 5th – 9th 2024, Wales Millennium Centre, Cardiff July 23-28th and touring
(4.5 / 5)
Produced by Michael Harrison and Gavin Karin Productions. By arrangement with the Really Useful Group Limited. Adapted by Andrew Lloyd Weber from the 1939 Motion Picture. Book by L. Frank Baum
Somewhere over the rainbow… in a land that I heard of once in a lullaby
Why has this film and subsequent musical retained its attraction? In the preface to his book, L. Frank Baum describes the book as a modernised fairy tale in which the wonderment and joy are retained and the heartaches and nightmares are left out. It is this fantasy and escapism that has proved enduring, for the same reason, Star Wars has retained its appeal.
The storyline starts with a petulant Dorothy who feels a common teen angst where she feels neglected. On running away, she is transported to a fantasy land and seen as a hero for accidentally killing the wicked witch of the east. She then embarks on a journey to Oz, to see the wizard and gain the means to go home. She encounters various characters and makes firm friends with the brainless scarecrow, heartless tin man and cowardly lion. In order to earn her passage home and to find respectively a brain, a heart and some courage, the intrepid four are sent on an arduous task, to bring the broomstick to the wizard of the wicked witch of the west.
This story is well known and ranks among many peoples favourites so it is a challenge to bring it to the stage once again in a fresh way. This production adds a bit of glitz and glamour to do this, the props are minimalistic, but the music and video backdrop add plenty of pizazz to proceedings. Some of the visuals are stunning, notably the tornado scene which was highly effective, and in general they are used imaginatively to set the scene and augment the action.
The cast have a couple of celebrity names, Gary Wilmot gives an assured performance as Professor Marvel and the Wizard while The Vivienne, winner of the first series of Ru Paul’s drag race makes a threatening, devious Wicked Witch of the West. However, the show is carried by Dorothy, played by Aviva Tulley. She made ‘Somewhere over the rainbow’, the signature song, her own and was a lively presence throughout. The supporting cast were energetic and committed, making this a fast paced, joyful experience.
The musical is faithful to the original story and incorporates most of the favourite songs from the 1939 film as well as some more contemporary numbers from its recent revival. However, the production lacks the simplicity and innocence of the film, replacing it with the loud score and striking visuals. Does is loose some of its allure in this process?
There is plenty of enduring meaning here, not least, your heart, brain and courage are latent inside you. Dorothy learns to appreciate home when she understands what she is missing. But it is in joyful escapism that this story comes to life. It is a colourful interlude from the mundane, gritty reality of life. This may explain its appeal to marginalised groups in our society but there is enough here for anyone to identify with and makes this a warm, feel good experience that is well worth seeing.
I had the pleasure of seeing Hadestown live in the West End on March 3rd, 2024. It was in the Lyric Theatre – a beautiful and ornate setting for this play, and thankfully, came equipped with the brilliantly rotating floor that’s perfect for this show. Hadestown is a musical that I’ve been listening to since about 2018, and unfortunately for me – I discovered it right after it had ended its first London debut with its test run of shows, and have been waiting for it to return ever since. Which, in a way, is very relevant and poetic of me. This is a musical that I’ve always found fantastic, either the Broadway or Off-Broadway version, and now the West End version too, since I always knew I’d more than just enjoy seeing the production live.
I would describe Hadestown as one of my favourite musicals of all time, and having the opportunity to see it live was not lost on me. I was emotional from the first few notes (and cried more often during the show than just during the ending – anyone sitting near me was a trooper for sure).
I’ve always loved the way its themes seem to rise above the era. When I first discovered it in 2018, I’d had no idea it had been around and predated Off-Broadway with even earlier versions of the recording by Anais Mitchell, since I had assumed there were implications of the 2016 US election, general poverty, and the Great Depression in there. And, there are, but there’s more than that, too – so much of the story circles all the way back around to love, and trust, and faith in yourself and in each other.
The myth of Orpheus and Eurydice is, and remains in this production, a tragedy – which I knew going in, though I still found myself weepy when it happened – and coupled with the mirror of Hades and Persephone, the show is perfect for a Greek mythology enjoyer, as well as anyone who appreciates a good song and dance number, and hands you a good excuse to cry in a theatre from the story.
Softened to the original Broadway recording, I went into the West End production fairly blind to the casting choices.
The acting and singing, and general performance, of each cast member was genuinely incredible. I’d have to pinpoint Gloria Onitiri’s performance of Our Lady of the Underground as my absolute favourite song from the show – which was a surprise for me, as the songs that I tend to gravitate back to the most is Wait for Me, and its reprise. She deserved her flowers and more for that performance, and I’m sure she gives that same energy each night. Genuinely a delight to watch her sing one of the greatest notes in the whole show.
Overall, this show was already near and dear to my heart, but this production was absolutely phenomenal, and worth seeing again and again.
Sian Thomas
Creating opportunities for a diverse range of people to experience and respond to sport, arts, culture and live events. / Lleisiau amrywiol o Gymru yn ymateb i'r celfyddydau a digwyddiadau byw
(5 / 5)
(4 / 5)
(4.5 / 5)
