Ten months ago, John let us know that Hadestown was returning to London. Obviously, being great fans, John booked the Weasels in. Our affair with Hadestown began during Weasels Afloat in 2010 when John introduced us to the album. Then in 2011, he organized tickets to see a live concert, featuring brilliant folk artists performing the album in the Union Chapel in Islington. Then, a few years later, we saw the musical at The National.
Hadestown then went to Broadway and underwent a few more changes before opening at the Lyric, in the west end. And that’s where I went today.
Of course, being Britain, the trains were completely unreliable. There was engineering work so I had to catch a train replacement bus from Lymington to Eastleigh in order to connect with the 12:10 train to Waterloo. Due to the fact that the bus didn’t use the railway tracks, we were held up just about everywhere by cars, mostly in Lyndhurst, and an officious customer service person at Southampton.
The buffer is included in order to allow for such issues. Which was good because the train to Waterloo I was forced to catch was at 12:32. This meant I couldn’t check in at the Premier Inn, instead I went straight up to the Lyric Theatre where I waited in the light drizzle for the Weasels.
I didn’t have to wait long and, very quickly, we took our seats and waited for the show to begin. Just before that, though, there was the all important lollipop warning to deliver.
I’d read quite a few reviews suggesting that the show was, possibly, the best thing in the West End at the moment. I can’t vouch for that, but I can say it wasn’t as good as the version we saw before it left these shores and was touched with the Americanisation biro.
In terms of the cast, I thought both Grace Hodgett-Young (Eurydice) and Gloria Onitiri (Persephone) were outstanding. In particular, Hodgett-Young’s innocence was beautifully performed. Not to mention her delightful voice.
And, Onitiri’s gyrations and general sex appeal were magnificent. Exactly what you want from Persephone. It’s interesting to note that she was also in the production at The National. Though John thought she was no Thea Gilmore.
The chorus, too, was superb and really held the thing together beautifully. And, of course, the band, an integral part of the show, was excellent.
What I found irritating and completely unnecessary, was the extra bits that had been added to either pad it out to make two acts or to explain things to people who need things explained too. In particular, near the beginning, Hermes tells Orpheus to sing a song about the story. Which he does. I found that annoying.
There was also a bit late on that sounded like it had been lifted from the Gethsemane scene in Jesus Christ Superstar.
It also got a bit too shouty in places. In particular, Hades’ bit about the wall descended into unnecessary yelling rather than menacing power. But that might just be me.
But, in defence of whoever decided the changes and additions were good things, Anthea found it useful, saying she’d not understood it at The National. So, I guess, we’re all different.
Still, it was an excellent Weasel outing. Well, if I ignore the massive head in front of me.
Afterwards, we adjourned to Tom Cripp for a few before saying good evening to the ladies. John and I then went to The Harp for a couple more before parting for the night.
It will be interesting to see what is next in line when the train whistle blows for Hadestown.
Yes I was disappointed- been looking forward to it, it was emotional but lacked something