Hadestown Review
Hadestown has lingered on my theatre wish list since it opened in London in early 2024. After catching a glimpse of its energy at West End Live this summer, I was determined to see it before the year ended. Last week, I finally stepped into the underworld myself—attending the premiere of its new cast, featuring BRIT Award-winning Girls Aloud star Nicola Roberts as Persephone.
The music, lyrics, and book are by Tony and Grammy-winning singer-songwriter Anaïs Mitchell. What began in 2006 as a grassroots folk-opera evolved into a concept album in 2010, and later—through collaboration with director Rachel Chavkin, producers Dale Frazen and Mara Isaacs, and dramaturg Ken Cerniglia—into a fully-fledged musical. It premiered on Broadway in 2019, winning eight Tony Awards including Best Musical, and finally arrived in London in February 2024.
The story intertwines two Greek myths: Orpheus and Eurydice, and Hades and Persephone. Set in a post-apocalyptic world loosely inspired by the Great Depression and the spirit of New Orleans, we follow Orpheus, a dreamer and musician, as he ventures into Hadestown to rescue his love Eurydice. Hades reigns as the king of the underworld, while Persephone, his wife, divides her time between the world above and the underworld below. Would you go to the ends of the earth for love?
Whilst being a love story, it’s also a modern fable about capitalism and control. “Why We Build the Wall,” sung by Hades, lays bare his ideology—a chilling reminder of fear, division, and authoritarianism. Chris Jarman’s deep vocals resonate with eerie power. Written nearly two decades ago, the song feels disturbingly timely.
The score blends indie folk, pop, blues, and New Orleans-inspired jazz, creating a sound thsts both grounded and richly textured. With the musicians visible on stage—playing piano, drums, violin, and trombone—the music feels alive and immediate. I especially loved that the three Fates each play an instrument: tambourine, violin, and accordion. Their combined presence is haunting and powerful, a reminder that fate is never singular. ‘Road to Hell’ bookends the show with its infectious jazz rhythm—you’ll leave humming “it’s a sad song,” just like I did.
Nicola Roberts captures Persephone’s inner turmoil whilst displaying a cheeky charm—especially in her liberal use of a flask. She’s scheduled to perform until 10 January 2026. Nicola joins Desmonda Cathabel as Eurydice, Chris Jarman as Hades, Cedric Neal as Hermes and Dylan Wood as Orpheus. The Fates are played by Melanie Bright, Allie Daniel, and Lauran Rae. Femi Akinfolarin, Michelle Andrews, Ollie Bingham, Laura Delany and Sebastian Lim-Seet play the Workers, with Lucinda Buckley, Juan Jackson, Oisín Nolan-Power, Lindo Shinda and Jasmine Triadi as Swings.
The set is a striking blend of a bar, Greek amphitheatre, and industrial factory—reflecting both the musical’s mythological roots and its modern themes. My favourite scene was “Wait for Me,” sung as Orpheus descends into hell. The swinging industrial lights begin with one, then build to five, casting shifting shadows that made me hold my breath. The intimacy of the Lyric Theatre amplified the tension, and when the set opened up, it was sensational.
The rotating platform evokes both the grind of factory labour and the cyclical nature of myth—symbolising descent, return, and the endless loop of hope and heartbreak. Movement is constant: lovers circle each other in longing and hesitation, and the Fates revolve with quiet menace, planting seeds of doubt and nudging character’s actions, suggesting fate isn’t fixed.
I liked Persephone’s costumes: a bright green dress symbolising the vitality of spring and summer, then the same dress in black when she’s in the underworld. Both versions stand out against the muted greys of Hadestown and its workers—a visual metaphor for her duality and quiet defiance.
Hadestown doesn’t just retell myths—it reimagines them for a world teetering between hope and despair. It asks us to believe we can change the world, even when the odds are stacked against us. In a time when stories of resilience feel more vital than ever, Hadestown sings loud.
Performances are now booking at the Lyric Theatre through 27 September 2026, with casting for the new booking period to be announced. If you haven’t yet descended into Hadestown, now’s the time.
Written by Caitlin Neal
Website: https://uk.hadestown.com
