Hadestown: Teen Edition (Cast 2) - 5 out of 5 stars
Scotch College Adelaide
TICKETS: https://www.ticketmaster.com.au/scotch-college-hadestown-tickets/artist/4477599
Like many of us, I have performed in a ‘High School Musical’ or supported my own children. Teachers filling adult castings are always good for a laugh at their expense, dusty school halls struggling to fit in all the proud parents, sets put together by the woodworking shop and the breaking voices of teenagers hitting notes not usually found on the scale. If you have those types of memories and that stops you from seeing this show, BIG mistake, HUGE! Scotch College has produced a genuinely WOW piece of theatre at the top of the genre, as professional as I have seen in Adelaide this year.
Professionalism covers many things – if this review were a
report card, there are A+ marks everywhere. Choosing the refurbished Thebarton
Theatre to stage the performance is an A+. From the moment you arrive, the
theatre oozes charm and credibility. Perhaps the students can feel the memories
of the talented artists that have performed in that venue. What it tells an
audience member taking their seat is that this is an environment built on high
standards and that is what Scotch College will be bringing. A quick review of
the production and backstage team in the program indicated the A+ talent in
those assistant roles.
Choosing well known and appreciated A+ set designer David
Lampard results in a set that fills the large stage and, being on display to a
waiting audience before the show, allows them to take in and absorb the
perfectly presented ‘two worlds’ vista before them. Attention to detail, the
provision of multiple cast entry points and the varying levels used allows the
other members of the creative team to design the tableaus and set pieces
brilliantly.
Megan Venhoek’s costume design strongly supports the
storylines and performances. Her use of colours to interpret the dominant
natures of the ‘two worlds’, the bright versus the darkness, Gods separated
from the earthly, is subtle but such an important part of the whole.
Oscar Whatson and Stephanie Thompson produce a lighting
design which adds tremendously to the atmospherics of the plot, their
crosshatched beams of light from the back of the stage forward forming an arch
over the performers late in the Second Act was stunning, another A+. I must give
a call out to the young male follow spot operator from the balcony on my left.
Dressed in his tie and school blazer he looked a treat and deserves an A+ as
well for his professional appearance – this is no slight on other such lighting
technicians who are equally talented but not often seen and therefore it
doesn’t really matter what they wear!
Thompson and Carla Laurendi produce choreography from these youth
performers of the highest standards. The quality, precision and athleticism of
the dance troupe and broader ensemble is exceptional and as good as anything
seen in Adelaide this year. The coordinated movement in the big stage numbers is
outstanding and perfectly supports the song lines and script being delivered.
Huge kudos for the work that went into their routines, and it paid off
handsomely, another A+ plus doesn’t quite seem a high enough mark.
Dr Martin Cheney and Kristin Steffanoff also present an A+
cast of performers and orchestra which adds so much to the professionalism of
the show. The ensemble numbers are clear and powerful in the delivery of their
own moments and in support of the soloists. Soloists are very well presented
although on occasion, the volume level of the ensemble does drown out their
work to a degree. The orchestra is right on point, and their volume is good in
support. Well drilled, they do not appear to miss an entrance or hold any note
past its written expiry point! Theatre in Adelaide has some wonderful sound
technicians but occasionally, with the differing types of theatre spaces that
are used, sound can sometimes be a little problematic. The sound design and
operation by Keith Jabinsky is first class, yet another A+.
Sebastian Cox, performing as Orpheus, had me asking the
question ‘how does a person of his age get to sing like that’…seriously good! His
shifts across musical genres are barely noticeable, no loss of quality. His
expressed body language as he sang matches beautifully to the lyrics and,
please keep at it young man, I think that you have such a future beckoning.
Clem Launay as Eurydice has quite a few very good moments,
her voice being well suited to the singing role that she has. As a pair, Cox
and Launay are well matched vocally and emotionally.
Hermes, the narrator of the story, is played by Jess
Laycock. This is a large and important role which she carries out with
confidence and discipline. She delivers a strong vocal performance.
Kaylin Hausleitner as Persephone, proves an admirable link
between the darkness of the underworld and light of the above ground, interpreting
the moods of Hades through both solid spoken word and song.
Cast well against her was Tom Wetherall as Hades. His firm
bass/baritone voice is well suited to his role of King of the Underworld and of
note is his body language and movement when singing or delivering lines,
excellent concentration and discipline.
Supporting Hermes, and acting as the messengers, are the
three Fates, Olivia Adcock, Chloe Vounasis and Florence Du. The harmonies in
their singing are very disciplined, a delight to hear so clearly, and they
connected so well to the storyline.
To Principal Trent Driver, the Performing Arts Program Team,
Director Stephanie Thompson and her creative team, and students, your report
card gets an overall assessment of A+, 5 stars out of 5 in theatre parlance.
What you have achieved with students from Years 7 – 12 is a remarkable piece of
theatre and I can’t imagine how proud you would be of them.
Start with a professional outcome in mind and the possibilities
are endless it seems and it appears that your trail of talented alumni will continue
to grow well into the future.
- David Kilsby
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