The latest to get this treatment is a new musical written by Anáis Mitchell, a folk singer who is hitherto unknown to me, The really bizarre thing is that the show has already played Off-Broadway in 2016 so it is being road-tested here before transferring to Broadway (allegedly). It is a very convoluted journey and I am not sure what the National is getting out of the deal - although it does fill the Olivier repertoire which has frequently been a béte noire for Rufus Norris. However, with no preconceptions on what I was about to see, I was very impressed with a lot of what I saw and heard.
Mitchell released the original concept album in 2010, retelling the myth of Orpheus and Eurydice as a pair of young lovers in the Great Depression played out in a hybrid of blues, New Orleans jazz, country and rhythm 'n' blues. She met director Rachel Chavkin in 2012 and after several years of working on it, the stage show debuted in 2016 in New York, it was again staged Off-Broadway last year where it was nominated for and won several fringe awards. And now it's here...
Hermes, our narrator, introduces us to Orpheus, a down-and-out singer with his guitar slung over his back. One day he meets the homeless Eurydice, they fall instantly in love and attempt to set up home together but things go awry as Eurydice struggles to find work while Orpheus spends all his time writing songs. In the meantime, summer arrives with the appearance of the exuberant goddess Persephone who is visiting for her allotted six months on earth bringing warm weather, joy and prosperity. When her time is up she sadly returns back to her husband Hades in his underworld factory, but this time she is followed by Eurydice in search of a better life. Orpheus is broken-hearted at her departure and follows her down to the underworld to bring her back, which no mortal has ever done before.
The lovers are reunited but Hades refuses to let Eurydice leave, however Persephone intercedes on the couple's behalf and Hades allows Orpheus to sing for him. Moved by the song, Hades dances with Persephone and let's the couple leave the underworld but with conditions attached: Orpheus must lead the way with Eurydice following but if he turns to look at her, she will vanish into the underworld forever...
I had deliberately not read any of the reviews as I wanted to experience the show with no preconceived ideas and I am glad I did, as I said there was a lot to enjoy. Anáis Mitchell's score is an intriguingly dense affair, at no time can you guess where the show is going to go musically. Her combination of country blues, New Orleans jazz, Southern rhythm 'n' blues and pop is a heady mix, the only thing it is missing is a memorable song. They sound great in the auditorium but by the time I had got home I couldn't remember one of them. It would also have been possibly better to have a separate lyricist, her's are the weakest part of the score.
Rachel Chavkin's production is big and bold with all energy focused on the performers however as the show reached it's double climax - first with Hades and Orpheus and then with Orpheus and Eurydice's flight from the underworld - the tension slackened and no real crescendo was reached, it all felt played at the same pace; indeed when the show ended, it felt to have been a long time coming.
In case anyone was wondering, there is life after the Broadway debacle SPIDERMAN: TURN OFF THE DARK as two of it's leads Reeve Carney and Patrick Page have turned up here: Carney is an impassioned though not terribly charismatic Orpheus and Patrick Page is a marvellous Hades, with a deep bass voice echoing out like coming from the underworld itself.
As Eurydice, Eva Noblezada - the star of the recent revival of MISS SAIGON - has a powerful voice and a nice stage presence, while Amber Gray was a wild and rollicking Persephone - as indeed she should be as she has played the role since 2016 in all the previous productions. With her crazy hair and bright green dress she was huge fun.
Musicals veteran André De Shields was an elegant, sinister, slippery Hermes and there was fine support from the three sassy, mean Fates: Carly Mercedes Dyer, Rosie Fletcher and Gloria Onitiri, and a special mention too for the excellent, hardworking ensemble.
David Neumann's choreography is inventive and striking, Rachel Hauck's large wooden set design is impressive but ultimately one wishes for something more striking for the underworld, and Bradley King's lighting is atmospheric and suits the ominous tone of the work. The seven onstage musicians are excellent and fully deserved the large ovation at the curtain.
Owen and I agreed that it might be good to see the show again before it finishes it's run in January to see how they have settled into the Olivier and hopefully ironed out some of the longueurs of the second act.
It certainly deserves to be seen...
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