As an NSTA representative, I was delighted to attend the Watford Grammar School for Girls production of Hadestown: Teen Edition on Friday 27th March 2026. Directed with skill by Mr Nash, with Musical Director by Mr Boichat and choreography by Miss Pinney, this production featured an exceptionally strong and talented cast.
Hadestown retells the ancient Greek myth of Orpheus and Eurydice through a modern folk-jazz lens, setting the story in a gritty, Depression-era industrial world. Orpheus, a hopeful young musician, falls deeply in love with Eurydice; however, when poverty and hunger drive her to seek security in Hadestown – a factory-like underworld ruled by the powerful and possessive Hades – Orpheus resolves to rescue her with nothing but the strength of his music. Now an increasingly popular choice for school musicals, the 2019 Broadway run was critically acclaimed, earning fourteen Tony nominations and winning eight, including Best Musical and Best Original Score.
An element of this production which immediately impressed was the way in which the ensemble maintained complete immersion in their roles throughout. Even when performing in close proximity to the audience in the aisles, their discipline was evident, as they sustained their ‘glazed’ look and avoided eye contact with audience members, despite the presence of friends and family. This was a truly impressive ensemble who were well-rehearsed and whose singing was impressive, tackling complex songs with confidence and expressive delivery.
The actors in principal roles displayed immense talent. Natalia’s portrayal of Hermes was superb; she captivated the audience immediately upon her entrance, demonstrating maturity and confidence. Her narration kept the show moving smoothly, and her vocals were powerful. She opened the performance with a challenging note, the opening lines “And on the road to Hell / There was a railroad station / [Mmmm…]” were executed flawlessly. Natalia delivered a simply outstanding and very mature performance which maintained the pace of the show throughout.
Isabelle’s portrayal of Orpheus was defined by a compelling emotional arc. Initially presenting the character with a delicate, sensitive touch, she masterfully navigated Orpheus’s evolution into a figure of profound strength as the narrative stakes intensified. This transition was supported by a vocal performance which remained consistently poised, demonstrating both technical precision and a deep connection to the lyrical demands of the score.
Florence inhabited the role of Eurydice with remarkable finesse, anchoring her performance in a sophisticated emotional intelligence. Her facial expressions were deeply communicative, offering a window into the character’s internal struggle, while her vocal performance showed impressive range. Florence demonstrated a keen ability to modulate her tone and texture to suit the shifting moods of the score, moving from delicate vulnerability to soaring power with ease.
As the formidable Hades, Scarlett delivered a performance defined by an authoritative and commanding stage presence. She utilised striking physicality and a calculated use of body language to embody the King of the Underworld, ensuring every entrance was met with a palpable sense of gravity. Her facial expressions were particularly effective, conveying a steely resolve that perfectly aligned with the character’s dark, enigmatic persona.
Jemimah’s portrayal of Persephone was a masterclass in stylish characterisation. Bringing a vibrant and expressive energy to the stage, she balanced the role’s inherent grace with a powerful vocal delivery that resonated throughout the performance space. Her stage presence was both polished and magnetic, ensuring that Persephone remained a compelling anchor within the narrative.
The trio of Fates – played by Milly, Maria, and Eleanora – operated as a seamless, singular entity, providing a haunting and atmospheric backbone to the production. Their vocal work was truly superb; the complex harmonies were executed with a high level of technical precision and a confident blend that spoke to hours of meticulous rehearsal.
The set design was highly effective, with changes managed by the cast through choreographed movements that preserved the show’s pace. Costumes were thoughtfully designed, with charming details such as flowers and trimmings. Hermes’ velvet suit changed colour with the lighting, reflecting the mood of the scene perfectly; whether intentional or not, this effect was striking and added to the production’s atmosphere.
Mr Nash’s direction, Mr Boichat’s musical direction, and Miss Pinney’s choreography were outstanding throughout. The band, composed mostly of pupils and young people, performed excellently under Mr Boichat’s guidance. He deserves recognition for the high standard of vocals throughout the production, including the well-executed harmonies. A particular highlight came during the first act finale, “Why We Build The Wall”. This scene was highly atmospheric and served as a fitting conclusion to the first act. This performance grew to its apex with style. The depiction of Orpheus’s journey out of Hadestown was exceptionally well delivered; the moment when Orpheus looked back at the end elicited a strong response from the audience, indicating their deep engagement with the storyline.
The level of student participation – both on stage and behind the scenes – was particularly inspiring. It was heartening to observe the enthusiasm and dedication of young people involved in all aspects of the production. This was a devilishly good production of Hadestown and everyone at Watford Grammar School for Girls should be incredibly proud.