Review: HADESTOWN, Lyric Theatre - Sept 2026
Photo credit: Brinkhoff-Moegenburg
Hadestown may be a well-known journey, but this new cast makes it feel like a journey worth experiencing all over again.
There is something particularly exciting about seeing Hadestown with a new fresh cast. The show itself remains exceptionally well put together. The music is still startling in its ability to shift between intimate folk storytelling, jazz and blues. The set is equally impressive, with breathtaking imagery at times. There is a sense of machinery and mythology working together on the stage. Yet, Hadestown does still benefit from some prior understanding of Greek mythology, as the show doesn't pause to explain aspects. But it is the new cast that makes this particular visit so memorable.
Sean Dooley portrays Hades, which is perhaps the biggest surprise of the evening. Hades is a role that can easily be quite stereotyped and have a familiar mould. Someone who is imposing, severe and powerful. Dooley brings something quite different. He is still strong and imposing, but there is an unexpected swagger and suaveness to his interpretation, coupled with a sensuality that makes him quite mesmerising to watch. He is the stereotypical Hades. There is something almost seductive about the way he carries himself, which makes his relationship with Persephone particularly compelling. At first, it feels like there are moments when he sounds slightly held back, but he quickly settles in and when he really lets go, the effect is quite something. His voice can be incredibly powerful, and this makes his interpretation feel all the more distinctive.
Danielle De Niese is vocally flawless as Persephone. This role demands an enormous amount, and De Niese handles it with remarkable ease. Her operatic background is particularly evident in moments when she allows this to come through, demonstrating a vocal quality that feels technically assured and blends in seamlessly within the world of Hadestown. She also brings huge amounts of energy to Persephone. There is an exuberance that makes some of her moments of joy feel infectious.
Nathan Sykes' Orpheus is another standout. Vocally, his sweet, almost delicate quality suits the character perfectly, but it is his acting that really stands out. There is a bashfulness, awkwardness and vulnerability underneath him that Sykes captures extremely well, alongside the innocence. There are so many little nuances in his performance: the timidness, the sense of being pushed aside, the constant desire to please, and the feeling of a young man who doesn't know how to be present. He feels almost perfectly suited to the role. His performance makes the vulnerability endearing without becoming overly sentimental.
Fayth Ifil takes more time to be able to sink into the character but by the end, we completely bought into her Eurydice. There is an intensity to her interpretation that provides a particularly strong edge. Eurydice is an angsty role, but Ifil pushes that quality further. Her performance is raw, and vocally she delivers some genuinely standout moments. Interestingly, this works particularly well opposite Sykes. While his Orpheus is timid, bashful and constantly trying to please, Ifil's Eurydice is much more guarded and emotionally forceful. Their contrast makes the relationship interesting to watch.
Hermes is arguably the role in Hadestown that has the greatest freedom of interpretation. The character can be played across different ages, genders and personalities, and as a result, every Hermes can feel like an entirely different storyteller. Malinda Parris brings a younger, more youthful energy to the role. There is a real sense of fun and charisma to her Hermes. There is something to be said for interpretations of Hermes that lean more heavily into the older, wiser storyteller archetype, but Paris' approach works for a different reason. Her youthful energy offers a bridge between the younger characters and the older, more established figures around them. She brings a lot of personality to the role, which makes her Hermes distinctly her own.
The three Fates, Melanie Bright, Spike Maxwell and Lauren Rae, are another major highlight. Their harmonies are magical at times. When the three voices come together, there are moments when the entire stage seems to stop and listen. Their vocals have an almost eerie quality that is perfectly suited to the Fates. They are a reminder of how much of Hadestown's magic comes from its supporting cast, rather than solely from its central characters.
These new performers don't just feel like replacements. They bring noticeably different interpretations to established characters. Dooley’s suave and unexpectedly sensual Hades, De Niese's operatic power and energy, Sykes' nuanced vulnerability, Ifil's heightened intensity, and Paris' youthful Hermes all offer different dynamics. Despite the story, score and visual world remaining the same, the cast inside that world can completely alter its atmosphere.
The production itself remains incredibly strong. The music is extraordinary, the staging is full of striking imagery, and the set and choreography are so rewarding. And this cast prove that there is still room within Hadestown to surprise. They are showing how much life there is still to be found in these roles.
***** Five stars
Reviewed by: Alexandra Tullah
