Hadestown: Teen Edition - 4 out of 5 stars
Woodcroft College
TICKETS: End of Season
Director
Rachel McCall knew this was a musical to tackle, with such a focus on the band,
the emotional range required of the principal cast, and the rich opportunities
for the ensemble and dancers, making it all a perfect fit for Woodcroft
College.
Rather than being hidden away, Band Director RenĂ©e McCarthy and the orchestra become an integral part of the world. Inspired by the atmosphere of a New Orleans-style bar and roadhouse, the orchestra is visible, present and connected to the action around them. In the moments leading to Opening Night, there were murmurs about Ryan Green’s involvement on the Trombone, and indeed he receives the elusive opportunity to join Persephone in the action for the Act 2 opener, Our Lady of the Underground and dazzles us enthusiastically with a solo. McCarthy’s orchestra is tight, powerful without being overbearing, and enthusiastically present.
It is
evident the time and energy Vocal Director has put into this production with
not only the principal characters, but also the ensemble. Alone, the ensemble proves
to be a compelling unit, providing great vocals from the very first “hmmmmm…”
They are unified, relentless, and deeply attached to the ongoings of their world.
Equally, her work with the principal characters is fantastic (but I’ll touch on
that as we work through the cast reviews.)
Chloe Seckerson’s
Choreography is layered, not only through the varying moments that are effectively
captured and enhanced through movement, such as the physicality of the workers’
chorus, or the more unique moments between Orpheus/ Eurydice, and Hades/
Persephone, but also through creating “set” with the ensemble – most
effectively being the road Orpheus takes out of Hadestown with Eurydice
following. Further, her core dance group of 10 shines consistently in their pieces,
whether they be intimate or rousing. Seckerson’s support in both the principal and
ensemble members alike have developed their confidence in movement with outstanding
effect.
The Set
Design is scarce but effective. When the challenge arises to fit 60+ students
onto the Hopgood Theatre stage, the practicality needs to be observed first.
The largest set piece is the train station which the orchestra are atop, but
there are motifs scattered throughout the space, planting the idea of the vibes
and shades within this production.
Opening the show, a very exuberant Tivon Esprito Santo, as Hermes started the production very strong, oozing the confidence you would expect in a God like Hermes. Embracing the folk, jazz and blues styled music, he naturally moved with rhythmic ease. Barely leaving the stage, Santo would often be seen looking in on the action as the Narrator, appearing at home and at ease.
Brooklyn Buet portraying Orpheus doesn’t detract in any shape or form from just that fact. She
rightfully belongs in this role and devours every moment she’s offered. Buet’s
melodies reach upward with realism, while perfectly capturing the small moments
within Orpheus’ life with innocence. With
the vocal range that is required for Orpheus, this surely won’t be the last time we see a
female step into this role, at least in the Teen Edition version.
As
Eurydice, Emily Riddle gave a powerful, consistent performance throughout, from
needing a match… through to needing a match. Riddle’s vocal ability is
outstanding and her understanding of the character, the story, and the journey
was evident. She knew where to show restraint and where to let go, and she
checked the box every single time.
Conor
O'Neill’s Hades was a true delight. Having a character with a low-range can
cause issues in the audience understanding what is being said, and yet every
word, undertone, and note was perfectly understood, creating the foundation for
an exceptional character. With songs likes “Hey, Little Songbird”, and Why We
Build the Wall”, O’Neill commands with industrial weight without peaking before
Act 2. His character arc was perfectly paced, building up to his “electric city”
line, delivered with great gusto!
Leah
Johansen’s Persephone carries a barrel of character that is unleashed on the audience.
Her rendition of “Our Lady of the Underground”, and “We Raise our Cups” alongside
Eurydice provides the much-needed opportunity to showcase her vocal abilities –
not to take away from her other moments where she effortlessly swings between
joy and volatility.
Annabel Baker, Zara Quaziz, and Rachel Gill are the Fates, weaving tight, knowing harmonies that cut through the story’s texture. Individually, they have distinguished movements that give themselves personality, while collectively they still move as one and become a single unit… quite the marvel.
The costumes within this production highlight the ageless yet familiarity of the story and its themes. Those wearing simply practical layers reflect the hard life shaped by its challenges, while the Gods where colour and velvet, shimmering and shining showing ultimate power and control. The Fates flowing dresses allow them to move symbolically between both worlds. The dancers are provided a few costumes ranging from bright and flowery to the sombre and moody – enhancing the lightening of the mood or the disparity and uncertainty of a character’s journey. Scott and her team Judy Evans, Justine Guest, Ang Wilson, along with students Kaden Woolford and Romanee Locke have worked tirelessly to ensure the costume vision works as well as it does in telling the story.
Graduating from Woodcroft College doesn’t always end your involvement in the community’s musicals, with Old Scholars returning to fill a few crew roles, including mentioned Hannah McGuire as Stage Manager, Jessica Davis as ASM, Chloe Seckerson as Choreographer, and Lachlan Nash as Assistant to the Directors. This then extends into the orchestra with Oliver Trembath, Jed Hains, Ethan McIver, Luke Wilde, and Joaquin Lee returning to be part of this production.
The plot, comments on the lighting and sound, and final notes are included with the Carnation Cast's review, found here: Hadestown: Teen Edition (Carnation Cast)
- Andrew Broadbent
Comments
Post a Comment