Posts with the label Greek Mythology
Showing posts with label Greek Mythology. Show all posts
Showing posts with label Greek Mythology. Show all posts
Thursday, 15 November 2018
Hadestown, National Theatre | Review
Hadestown
Olivier Theatre, National Theatre
Reviewed on Wednesday 14th November 2018 by Olivia Mitchell
★★★★★
Folky, emotive, excellently performed and ever relevant, the National Theatre's production of Hadestown is a grand triumph. The folk opera by Anaïs Mitchell started life in 2006 as a small concert which then became an album and gained a cult following. A fully formed, off-Broadway production came from the genius team of Mitchell and Rachel Chavkin who have continued their partnership for this new production which they are taking to Broadway after its run at the National.
Despite a number of iterations, the story has always remained the same and the music, scarily relevant. We follow the story of Orpheus who could charm anyone with his music and Eurydice, the woman who falls in love with him, but whom he loses as he tries to lead her out of the underworld.
This show is wonderfully smart and sharp in the way it twists the original stories to feel current whilst still maintaining their mythic feel. Orpheus and Eurydice aren't magical spirits but a young boy and girl facing famine and the trials of life in a failing world. Hades, ruler of the underworld also rules the mines and offers his people "freedom" by giving them jobs but also imprisoning them behind a wall. Why We Build The Wall must be one of the most topical numbers of the show and it's hard to believe it wasn't written more recently. The parallels with the state of the USA are undeniable.
The sleek but intricate set of Rachel Hauck, takes the tale to a Depression-era bar, where André De Shields as Hermes, narrates the show and introduces us to the meaning's behind what's to come whilst accompanied by a live, bluesy band who are dotted around the stage. His rich voice transports the audience to another world.
The operatic nature comes from the recitatives which pepper the show and provide lyrical pauses from the sometimes repetitive songs. The cast do an absolutely outstanding job of performing the beautiful music, providing spades of emotion. The pureness of the show and performances within it moved me to tears several times and the man next to me must have exclaimed "wow" after at least 90% of songs, so they certainly pack an emotional punch.
Reeve Carney has a soft-rock vibe to his Orpheus, with his spiked hair and calming voice showing why Eurydice would have been drawn to him. Eva Noblezada is on another vocal level with her performance; her voice is supremely clear and the effortless way she delivers every line is truly magical to behold. Every word that leaves her mouth is infused with feeling and the way she idly carries herself round the stage makes her the perfect counterpart to the equally cool, Orpheus. Their sweet duet, All I've Ever Known is a mystical moment.
Reminiscent of The Huger Games' President Snow and the USA's President Trump, Hades is played menacingly by Patrick Page. The weight of his words and performance cut close to home and his growling bass voice enchants everyone who hears it. What's most scary is the way he also reveals a tender side which is mesmerising and terrifying at once. Hey Little Songbird is an example of the way he can wrap someone around his finger; he seduces Eurydice before telling his wife later that the girl means nothing to him. As his half-drunk, half-lonely wife Persephone, Amber Gray gives a masterclass performance. Her high energy moments are contrasted perfectly with moments of sadness which seep out of her and cover the audience in waves.
Chavkin has worked with every performer, set piece, musician and lighting moment to create a show which has us lingering between despair and hope. The sharp choreography from David Neumann works fantastically with the revolve of the Oliver stage and bring an equally frenetic and still mood to the piece.
This is a production all about balance and the entire cast, crew and creative team have done an astounding job of highlighting the pain and beauty which inhabits our world. Mention goes to the Fates (Rosie Fletcher, Carly Mercedes Dyer, Gloria Onitiri) and Jordan Shaw who all caught the eye throughout with their supremely grounded performances.
Hadestown is painfully relevant and beautifully moving. It's a production which will surely be remembered by all who see it, and should be seen by all.
Hadestown runs at the National Theatre until January 26th 2019
photo credit: Helen Maybanks
Thursday, 11 October 2018
Mythic, Charing Cross Theatre | Review
Mythic
Charing Cross Theatre
Reviewed on Wednesday 10th October 2018 by Olivia Mitchell
★★★★
I have to start this review by saying that I need a Mythic cast recording right this moment! The entire show is super catchy and you can bet that if/when a recording is released, it's all I will be listening to.
Mythic is a 90 minute, humourous, dynamic and all round brilliant show which looks at the Greek Gods in a way they've not been seen before. In this reinvention, we follow Young Persephone who is trying to find herself and her talent, whilst her mother (and Mother Earth herself) Demeter, is struggling to let her little girl grow and flourish in the way she allows her plants to.
Marcus Stevens and Oran Eldor's upbeat pop/rock score is catchy beyond belief, and features song after song that will keep you entertained and on your toes. From the moment the show opens the tone is set: we are in for a 90 minute comedic show that's fully self-aware and able to subtly look at some deeper subjects.
There's no denying that this show is cheesy but that's what makes it so great; from the use of props (shrubs which are tossed around the stage) to the joke filled lyrics, Mythic manages to balance humour and integrity well. The show could easily become a mess but instead it is sleek, and emphasises its cliches to make them thoroughly entertaining rather than draining.
The re-imagined Olympia certainly feels like party central, with the music creating the perfect soundtrack for a night out. The variations in moods are also achieved well, with highly uplifting numbers, as well as darker numbers and moving ballads. For the entirety of the show, Mythic manages to remain well-connected to the myths, whilst making the entire thing feel fresh and contemporary.
The characters are highly stereotypical, with a sleazy father (Zeus), a daughter who feels trapped (Persephone), a typical bad-boy (Hades), an overprotective mother (Demeter) and an attention-deprived daughter (Aphrodite). However, they are more than they appear on the surface and are all well-rounded enough to make us really root for them and become invested in their struggles throughout the 90 minutes.
Mythic's five principles do a wonderful job of motoring the story along whilst providing well thought out performances. Daniella Bowen is suitably hippie and genuine as protective mother, Demeter. Her performance of What Mothers Have To Do shows her power as a performer and the whole role really showcases her versatility. As her daughter Persephone, Georgie Westall is a strong female lead; perfectly embodying the headstrong aspect of the character, without making her unlikable. Vocally she is super strong, with Irreversible providing a stand out moment and showing that Georgie is sure to be a name on the London theatre scene for the foreseeable future.
Michael Mather does a brilliant job as the leather clad bad-boy Hades. Again showing versatility through his portrayal which is both fiery and vulnerable. His killer voice and great stage presence make Michael perfect for the role and his great chemistry with Georgie make them a perfect pair to play out this crazy love story.
Genevieve McCarthy is part Regina George, part Karen Smith in her portrayal of the wannabe daddy's girl, Aphrodite. Alongside Tim Oxbrow as Zeus, the father who's focussed on power rather than his daughter (well, one of them), there is great comedic timing and the duo work well together; especially towards the end when the dynamics change. The ensemble are supremely strong, supplying us with killer vocals and witty one liners throughout. Mentions go to Eloise Davies and Ben Welch who catch the eye in their various roles and, to the fantastic diction of the overall ensemble. For a show that is almost entirely sung through, we do not miss a word due to the fantastically sharp delivery from everyone.
Everything in this show works in precise union, with Lee Newby's costumes and sets not only matching the world of the God's but also highlighting and literally being highlighted by Jamie Platt's lighting design which is precise and not at all overbearing. Sarah O'Gleby has done a fabulous job with choreography and direction and whole piece just feels like a step in the right direction for theatre in the West End. For a godlike way to spend 90 minutes, don't look any further than the Charing Cross Theatre and Mythic.
Mythic runs at the Charing Cross theatre until 24th November
photo credit: Marc Brenner
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