Hadestown opened in London’s West End just over a year ago and since then we have not only seen the original West End cast but also the original Broadway cast appear for a limited run and, like the seasons, it is time for a change and the 2025 cast to take the stage.

I made no secret of the fact that when I saw Hadestown in the West End I adored it so I was excited to go back and see what the new cast would bring to the show. For those that have not yet seen Hadestown the show is based on the Greek myth of Orpheus and Eurydice, two young lovers. Orpheus is busy writing a song to entice the seasons back to earth and whilst he is engulfed in this Eurydice is living in poverty. She is soon enticed to the underworld by their King, Hades, in return for food and shelter. When Orpheus discovers Eurydice has gone he sets about on a mission to rescue her following advice from our narrator Hermes who has taken Orpheus under their wing. Meanwhile Eurydice, after signing a contract and sealing her fate, becomes a worker and learns that life is not what it seems in Hadestown but the question is, will Hades let Eurydice go that easily?

The book by Anais Mitchell is brilliantly gripping and one that has grown on me each time I have seen the show with hidden layers becoming more apparent the more familiar I become with it and whilst I loved it on my first watch it falls into a small category of shows for me that I actively want to return to time and time again. There are a lot of fascinating characters and relationships within the musical and the underlying political meaning is also gripping. The show succeeds in not only making me root for Orpheus and Eurydice but also for Hades and his wife Persephone and the fate of the workers in Hadestown. The attention to detail within the story is also enhanced by Rachel Chavkin’s direction and each time I watch it I notice something new, from Eurydice’s silver coins to her candle being blown out.

Equally David Neumann’s choreography is masterful, from the different styles and motifs depicted depending where we are in the story and even the workers frozen tables causing me to get shivers down my spine.

Desmonda Cathabel plays Eurydice and she succeeds in the difficult job of being open and vulnerable with Orpheus on stage whilst having the audience believe that she is a strong woman and watching Cathabel play out these two worlds colliding is mesmerising. Dylan Wood is Orhpeus and he brings a sense of brevity and lightness to the role yet still ensures that at moments of importance he has the gravitas needed to portray them and this light and shade that he brings to the role is a wonderful addition.

Cedric Neal who plays Hermes can do no wrong in my eyes and each part that he portrays becomes worth the ticket price alone. From the very first word out of his mouth he oozes charisma and easily establishes himself as the audiences guide to the underworld. Victoria Hamilton-Barritt plays Persephone her her physicality in the role was a site to behold – she threw her whole body into this part which was an utter delight.

The fates were played by Allie Daniel, Melanie Bright and Lauren Rae who brought not only bundles of sass but also close 3 part harmonies and Chris Jarman’s, Hades bass voice resonated through the theatre whilst ensuring that the audience saw his ‘human’ side. I adored that it felt like he had stepped out of Gangs of London, with his cockney boss vibe. This casting really was immaculate and credit must go to Jacob Sparrow for this casting.

Whilst in reality this cast could sing the phone book and I would still be mesmerised, the music and lyrics of Hadestown, also by Mitchell, are firmly rooted in jazz. ‘Chant’ grips me from the moment the first few bars are played and the music works brilliantly with story unfolding in front of you, ‘Why We Build A Wall,’ is strong and powerful and ‘Flowers’ is hauntingly beautiful. Reading back over the song list reminds me just how many incredible moments there are within the show, when the cast, the music and the staging are working in such harmony together.

The set design by Rachel Hauck and lighting design by Bradley King is perfectly in keeping with the feel of the show. The full turntable as well as lift centre stage which means the cast can disappear into the underworld helps make some of the sequences unforgettable and set effortlessly transforms from our world to the underworld in a stunning sequence.

Hadestown is a show with a mythical combination, a mesmerising book, soaring melodies, a huge amount of creative flair and a cast that you will not want to miss. Wait for nobody to get yourself to the Lyric Theatre.

Hadestown is on at the Lyric Theatre and is currently booking through to February 2026. You can find out more and buy tickets here.

If you like this review you might also like my review of Mean Girls, MJ The Musical and Mrs Doubtfire.