Hadestown, at Her Majesty’s Theatre - 2 hours 30 minutes, including interval

Lovers Orpheus (Noah Mullins) and Eurydice (Eliza Soriano, filling in for regular Abigail Adriano) find out the hard way that if you deal with the devil, there will be hell to pay.

In a nutshell, that is the conceit in the cautionary tale Hadestown, a most appealing musical.

Orpheus, the son of a muse who abandoned him, is a poor, naïve boy with a unique gift.

Eurydice is a hungry young runaway who is no stranger to the world.

Photos by Lisa Tomasetti

The moment Orpheus sets eyes upon her, he is besotted and woos the cynical Eurydice via a tender, unfinished love song.

It is a tune with a familiar refrain that resonates with Hades (Adrian Tamburini), king of the underworld.

A lifetime ago, he fell in love with Persephone (Elenoa Rokobaro), who lived up above.

They married and formed an unusual partnership, which would see her return to the light – which she desperately missed – every Spring and Summer.

For a while Orpheus and Eurydice, who he has promised to care for forever, are blissfully happy.

But as the cold winds return, the fields are bare and Orpheus remains wrapped up in finishing his love song. As such, he is no longer attentive to Eurydice’s needs.

Hunger overtakes her and she is vulnerable to the devil’s overtures, forging a deal with Hades that will see her stomach full, but living a life of servitude.

Below, while waiting for Persephone to return, he has built a foundry and a power station to give her heat and light. For Eurydice, hard labour and a loss of identity awaits.

When Orpheus realises what has happened, he vows to rescue Eurydice whatever it takes and a tortuous journey begins.

In time, he will learn that the road to hell is paved with good intentions.

Hadestown is a reimagining of the Greek myths of Orpheus and Eurydice, Hades and Persephone.

It is infused with appealing jazz, blues and rock music, through which the narrative unfolds.

The winner of eight Tony Awards, including Best Musical and Best Original Score, the book, music and lyrics are by Anais Mitchell, who has crafted something special.

It is poetic and lyrical and quite the spectacle, with band members on either side of the stage, a balcony and faux elevator, which leads down to the underworld.

The music begins with Hermes (Christine Anu), who has taken Orpheus under her wing, introducing all the characters.

They include the Fates (Sarah Murr, Jennifer Trijo and Imani Williams), who represent the fears and doubts of Orpheus, Eurydice and, even, Hades.

And then there are the workers (Jessie Monk, Afua Adjei, Sam Richardson, Joshua Kobeck and Devon Braithwaite), who toil for Hades.

There is a terrific combination of talent in the cast and the musicians.

Anu brings showmanship and authority to Hermes, who also acts as narrator.

Sweet voiced Mullins is tender as Orpheus and Soriano assured as Eurydice.

Tamburini’s timbre and tone make him positively fearful as Hades and there is sass about Rokobaro as Persephone.

The melodic trio of Fates impose themselves, while there is a similar meeting of minds between the exploited workers.

Musical director Laura Tipoki gives the band a strong platform, with a standout performance from trombone player Griffin Youngs.

Choreography by David Neumann is masterful, fluid movement being an important part of the offering.

Watch for Wait for Me, a standout number involving swinging lights and miners’ headlamps, which is second to last in Act I.

And that leads me to offer the highest of praise for the evocative lighting, not only in that scene, but throughout, along with the sound design.

Some knockout costuming from Michael Krass, including Hades’ shimmering dark three-piece suit and the workers’ leather-look overalls, adds to the enticing palette.

Director Rachel Chavkin has given us much to admire in a telling fable about the human condition that resounds with feeling.

Hadestown is playing at Her Majesty’s Theatre in Melbourne until 6th July, 2025.