HADESTOWN, the acclaimed Broadway musical phenomenon by singer-songwriter Anais Mitchell and director Rachel Chavkin makes its long-awaited West End premiere in February 2024 at the Lyric Theatre. ‘An epic celebration of music, togetherness and hope’ (Forbes) HADESTOWN is the winner of 8 Tony Awards® including Best Musical and the Grammy Award® for Best Musical Theatre Album.
HADESTOWN takes you on an unforgettable journey to the underworld and back, intertwining two mythic love stories – that of young dreamers Orpheus and Eurydice, and that of King Hades and his wife Persephone.
A deeply resonant and defiantly hopeful theatrical experience, HADESTOWN invites you to imagine how the world could be.
‘Your next musical theatre obsession’ (Vogue).
‘Sumptuous. Gorgeous. As good as it gets’ (New York Times)
‘A transporting musical hit! Anaïs Mitchell’s score is a joyful combination of folk, pop, Dixieland and blues. You’ll be singing it in your head for days’ (Time Out)
__Access Performances__
Captioned: Saturday 20th April, 2:30pm, Wednesday 12th June, 7:30pm
Audio Described: Saturday 27th April, 2:30pm, Wednesday 19th June, 7:30pm
BSL Interpreted: Saturday 4th May, 2:30pm, Wednesday 26th June, 7:30pm
On paper it always feels as if it shouldn’t work. Yet on stage Hadestown is the most exhilarating ride. That band, with its bluesy trombone and folksy guitar is consistently thrilling, the songs are vibrant and smart, the sung-through text is compelling. In this version, the relationship between Orpheus and Grace Hodgett Young’s down-to earth Eurydice is also much refined, with a glorious and deeply felt performance from Dónal Finn that turns our hero into an agonised dreamer rather than a guitar-strumming popstar.
The onstage band is a treat, too, with snarls and howls of wild brass, and David Neumann’s choreography adds texture while maintaining the momentum, blending the sinuous quiver and undulation of awakening passions and rising sap with the pumping pistons and percussive, back-breaking drudgery of eternal purgatorial suffering. Without a stronger narrative, it’s a show that only takes us, like the characters on Hauck’s cunningly deployed revolve, around in circles; but the journey is sometimes stunning.
2016 | Off-Broadway |
New York Theatre Workshop Off-Broadway Production Off-Broadway |
2017 | Canada |
Canadian Premiere Canada |
2018 | West End |
National Theatre Pre-Broadway Engagement West End |
2019 | Broadway |
Original Broadway Production Broadway |
2021 | US Tour |
First National Tour US Tour |
2024 | West End |
West End |
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