HADESTOWN at the National Theatre in London - Previews — Page 2

There is nothing wrong with the set visually, it is the constraints it puts on the performers that is the problem. It looks like a tiny set dropped in the middle of a massive stage and it gave me flashbacks of the terrible 'meta' version of The Colour Purple. For the first 10 minutes I kept wondering why they were building a railroad in the middle of B.B Kings' Blues Bar.

While the 'turntable' is used to great effect towards the end of the show, the rest of the time it is used to spin people around instead of them moving about the stage and filling the (tiny) available space.

Instead of a row of dancers fanned out across the stage, they are spinning around a small circle in the centre of the stage....endlessly. The visual impact of the choreography is lost to the point that they may as well not even be there.

During major dramatic moments when the characters are singing to each other, instead of facing each other and emoting the lyrics, they stand dead still facing the opposite direction and spinning in opposite directions on the turntable. I got the 'metaphor' (how could you not it's there the whole show), but the emotion of the material is lost.

It's just 'odd', really, really odd and instead of enjoying the production and being pulled into the story and what was happening on an emotional level, I found myself constantly pulled out of the material by wtf directorial decisions. I spent the whole night thinking, this should be so damned exciting, but it is as flat as a tack!

The fact that Chavkin had gone from using the space so brilliantly in Comet to this is just mind boggling.

When the curtain call is the most emotionally affecting moment of the production (apart from the obvious BIG moment in the show) something is very wrong.

The Canadian production looked MUCH better as the turntable was a small part of a sparse stage with plenty of room to breathe.

It is such a shame as the material and performers/performances are SO strong.

If this staging goes to Broadway, they can kiss those otherwise much deserved Tonys goodbye!

taylortrensch said: "can anyone report on the merchandise that's available? will it eventually be posted onhttps://shop.nationaltheatre.org.uk?"

I watched the show tonight. I only saw the vinyl and the cast album plus the programme in the bookshop.

They had some Greek column candles nearby but they didn't seem to have an explicit Hadestown branding.

Any explanation behind the new costumes? I prefer the NYTW costumes.

Also, is anyone familiar enough with the previous book/concept album to know if they've made any changes? Orpheus was the weak link at NYTW in my opinion so I'm curious if the writing for his character is being refined at all.

I saw this and all and all loved it. I believe it could be a big hit on Broadway.

There might be some "mild" spoilers below. I don't think so, but in the abundance of caution, I'll add this disclaimer.

The good:

-The casting (with one exception -- see below) is so perfect and the changes that they made in casting from the album were all improvements, most notably the new actors playing Eurydice and Hermes. Nothing wrong with the old actors, but I like the new casting choices for these specific roles. Standouts were Patrick Page (of course! what a voice!), Eva Noblezada and Amber Gray.

-The Wall song. Wow. Best part of the whole show in my opinion.

-The ending music of the show does a nice job of lifting things up when they otherwise would have been a bit of a downer. The music helps put it all into perspective as to why we keep telling the story.

-The music in general. I can't get it out of my head. I wish I could say that about most shows on broadway -- but frequently I have a hard time humming a tune on my way out. Honestly, I didn't care for the album much prior to seeing the show, though I listened to it a couple of times. I like it much better now, of course. I wake up in the mornings humming the songs. I think it helps that they seem to repeat the songs over and over again to get them ingrained into your mind.

-The use of the lift in the stage. I don't want to say too much as a spoiler. But it worked well for telling the story.

The less than good:

-There are parts of the story that drag a little bit and where the music doesn't move the plot along. We're hearing musical phrases repeated over and over again within the same song, but it's often not developing character or moving the plot forward. I felt like this was the key weakness of the show. They had me at the beginning and the end of each act, but they lost me in the middles of each act where it felt like they didn't have enough story and conflict and legitimate impossible obstacles for the hero, so they had to drag things out with more purposeless music, rather than showing the hero get closer or farther from their goals.

-I wished the story gave us a bit more time at the beginning to get to know Eurydice and Orpheus a little more so that we care about them and want to go on this journey with them. Just two random people meeting and falling in love doesn't do it for me. Star Wars Episode VII does a perfect job of giving us some time to see Rey's day-to-day life, collecting scrap metal, turning in a days' work for a half a muffin. We feel sorry for her terrible life. We want something good to happen for her. And then what does she do? She rescues BB8 from a net. Now we REALLY like her. Her life stinks, but she wants to help someone else out. They don't just start the movie and say here's a girl, she wants to find out who her parents are, let's watch a whole movie to see if it happens. I wouldn't care about the hero.

-The actor playing Orpheus seems like a nice guy, and generally likeable, but he seemed miscast for this role. His singing could have been stronger. I hope when it comes to Broadway they keep Patrick Page, Amber Gray and Eva Noblezada, but try something different for Orpheus.

-They need to turn up Hermes' microphone in the opening number. I'm always shocked at how bad sound balance is in high quality theatre, including Broadway. How can you not hear that his microphone is low? Or is it all programmed into a computer and there isn't a live person who can make adjustments?

Verdict

I will be shocked if this doesn't pull in strong positive reviews from the critics. If the producers can somehow get it into a Broadway theatre this season, I think it comes in as a strong front runner for Best Musical, especially if they can figure out how to make some of the tweaks above.

Updated On: 11/13/18 at 02:46 AM

Updated On: 11/27/18 at 02:41 PM

Famebroadway2 said: "Speaking with someone on the creative team for Broadway and this is NOT coming in this season. Spring 2020 is the target and a Theatre has been booked."

This sounded legit until you said a theatre has been booked. Hard for me to imagine that the theatre owners know exactly which theatre will be available Spring 2020. Typically they will promise a theatre, but won't know which one until it gets closer. You sure that's what they said? Or was it more like "a theatre has been promised"? That's different and more likely.

Rainah said: "Unless some sort of limited run deal

But Spring 2020 is well over a year away. Are they planning ANOTHER workshop?"

It needs it frankly. The main love story needs work as at the moment the relationship between the older couple is the one that really shines through and tugs at the heart strings apart from the youngsters obvious tragic ending.

Then there's the spinning...

Hermes was great though!

The Times - two out of five stars

https://www.thetimes.co.uk/article/devil-has-the-best-of-uninspiring-tunes-lnh52ljch

Updated On: 11/13/18 at 11:21 PM

Time Out London:

https://www.timeout.com/london/theatre/hadestown-review

The Stage:

https://www.thestage.co.uk/reviews/2018/hadestown-eva-noblezada-anais-mitchell-review-national-theatre-london/

The Guardian:

https://www.theguardian.com/stage/2018/nov/14/hadestown-review-musical-rachel-chavkin-anais-mitchell-olivier-london

Warbucks2 said: "I hope the producers and creatives are listening to these reviews. They are generally positive and the notes are right on point. This show is incredibly promising and is in great shape at this stage. In my opinion it would be a front runner for Best Musical this year, given the competition.

The reviewers are highlighting many of the same issues and they are things that are fixable."



I do not think it will get the tony for best musical. Did you read Girl from North County's reviews. Hopefully Moulin Rouge will come in earlier and will sweep.