Hadestown: Teen Edition (Cast 1) - 5 out of 5 stars
Scotch College Adelaide
TICKETS: https://www.ticketmaster.com.au/scotch-college-hadestown-tickets/artist/4477599
With 62 exceptionally talented cast members, Scotch College Adelaide is delivering an impeccable SA Amateur Premiere production of Hadestown: Teen Edition.
Hadestown
is a modern retelling of Orpheus and Eurydice. In a world gripped by hardship
and uncertainty, the relationship between Hades, ruler of the Underworld, and
Persephone, goddess of spring, has fallen out of balance. Orpheus, a dreamer
and musician, falls in love with Eurydice, a young woman searching for
security. When hunger and desperation lead Eurydice to accept Hades’ promise of
safety and shelter, she finds herself trapped in the underworld. Determined to
bring her home, Orpheus embarks on a dangerous journey below, armed only with
his music and his unwavering belief in the power of love.
Director/ Choreographer Stephanie Thompson has created a
production that is visually appealing and emotionally resonant. Her staging
makes excellent use of the performers, the set, and the movement of the
ensemble, creating a strong sense of community above ground and industrial
entrapment below it. Her choreography, alongside Assistant Choreographer Carla
Laurendi is purposeful, spectacular, and beautifully integrated into the
storytelling.
Musical Director Dr Martin Cheney leads an exceptional
eight-piece orchestra whose playing captures the distinctive sound of Hadestown.
The musicians provide a rich and consistently supportive accompaniment,
allowing the score to be fully realised. The music becomes more than
accompaniment – it is the heartbeat of the production.
Kristin Stefanoff plays an important role alongside Cheney in shaping the production’s strong and cohesive vocal sound. The cast navigates Hadestown’s demanding folk, blues, and jazz-influenced score with masterful confidence, clarity, and emotional commitment. From the ensemble’s powerful collective sound to the more intimate moments between the principal characters, the vocals remain well supported.
Sebastian Cox captivates with sincerity and vulnerability as
Orpheus. His portrayal captures the idealistic young artist whose belief in
music, love, and the possibility of a better world remains unwavering even when
circumstances become increasingly bleak. Cox gives the character an appealing
openness, making his emotional journey accessible and ensuring his
determination never feels abstract.
Siena Turner offers a compelling, powerful and emotionally
grounded performance as Eurydice. She conveys the character’s strength and
independence while also making clear the fear and exhaustion that leads
Eurydice to seek security in the Underworld. Turner brings a natural directness
to the role, allowing Eurydice’s choices to be understood within the world of
the play. Her connection with Orpheus gives the central love story genuine
emotional weight. Her vocal ability is impeccable, and stands is an equal
standout alongside Cox.
Tom Wetherall commands the stage as Hades with his deep
voice, bringing authority and menace to the Underworld. His performance
reflects the character’s power, while suggesting the insecurity and
possessiveness beneath Hades’ exterior. Wetherall makes excellent use of
stillness and presence, creating a figure who feels at home within the
industrial world of the factory.
Eleanor Driver brings warmth, vitality, and emotion to
Persephone. Her performance captures the goddess’s brightness and generosity
while acknowledging the personal cost of her relationship with Hades and the
changing seasons. Driver gives Persephone a sense of history, making her joy,
weariness, and moments of vulnerability equally convincing. She provides a
vibrant contrast to the darkness of the Underworld and brings heart to the
production.
As Hermes, William Jarvis commands the production as an engaging guide and storyteller. He quickly establishes the tone with clarity, warmth, and a confident stage presence, drawing the audience in. Jarvis understands Hermes’ role as both narrator and participant, moving comfortably between moments of exposition and those of heightened emotion.
Evie Dolling, Ashleigh Sykes, and Charlotte Venning are
wonderfully effective as the Fates. Working as a tightly connected trio, they
create the presence that reflects the doubts, fears, and anxieties. Their vocal
and physical coordination is remarkably strong, with each performer
contributing to the group’s identity. Dolling, Sykes, and Venning embrace the
opportunity to make the Fates mischievous, watchful, and faintly sinister.
The dance
troupe of 19, led by Dance Captain Chloe Hill were expertly synchronised with
each other, perfecting Thompson and Laurendi’s choreography. Elliott Purdie and
Hannah Spargo as young Hades and young Persephone were provided an opportunity
for these two students to showcase their abilities and be seen.
The ensemble is one of the production’s greatest strengths.
The Workers bring impressive energy and precision to the production,
transforming from a labouring force within Hades’ factory into a visible
representation of the community’s struggles and resilience. Their singing,
movement, and collective storytelling give the production power and scale,
while their commitment to detail ensures the stage remains alive.
Megan Venhoek’s costume design contributes to the visual
identity of the production, reflecting the hardship and vulnerability of life
above ground while supporting the atmosphere of the Underworld. Venhoek’s design
supports the production’s mythology without becoming disconnected from its
contemporary theatrical world.
The
Lighting Design by Oscar Whatson and Thompson was fantastic, with some
purposeful choices noted throughout the production that enhanced the overall
atmosphere, while the Sound by Keith Jabinsky was perfectly balanced and
operated. Every lyric was heard and understood from the cast onstage without
being overpowered by the orchestra that remained well heard.
“On the
road to hell, there was always a railway track.” David Lampard’s Set Design
begins in above ground and then takes us to hell. These two locations are
connected via train stations. Earth’s platform is a world suffering through
decline, yet community, hope and love still survive. A mere 6 feet below earth,
Hades’ factory flourishes where we glimpse pipes, steel and industrial
capitalism. Through his choices and symbolism, through to his choice of colour
palette, he has thoroughly considered the through-line vision of the story.
Scotch College Adelaide’s Hadestown: Teen Edition has a committed cast, accomplished creative team, powerful orchestra, and thoughtful design. This production does far more than tell the story of Orpheus and Eurydice: it makes the audience feel why the story must be told again and again. Impeccably performed and rich with theatrical heart, this is a luminous five-star production.
- Andrew Broadbent
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