As an NSTA Representative, I was fortunate enough to attend Brighton College’s production of Hadestown, performed on 22nd November 2025 at The Cairns Theatre. Directed with palpable purpose and clarity by Mr Charlie Granville, this production felt as though it had leapt straight from a West End stage.
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 a 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.
Staging, lighting, costumes, scenery, and props were all pitched to perfection to support the creative direction. Designed by Mr Paul Tillbrook, the scenery was set on a raised platform stage, with sparse wooden chairs, tables, crates, and ropes mirroring the minimalist aesthetic of the Broadway staging. Costumes by Mrs Louise Watts were stylishly in keeping with the 1920s style. Lighting by Mrs May Haddon was crisp and professional; a highlight occurred when Hermes led Orpheus through the underworld and the chorus produced a series of creative depictions of the space using overhead lamps, lanterns, and head torches. Visually, this production was compelling and absolutely stunning.
As Hermes, Poppy and Arlo carried the show’s narrative weight with ease, charisma, and smooth, silky vocals. Hermes is the unseen engine of Hadestown: guide, storyteller, and wry commentator. Together, this pair navigated these tasks with confidence and flair. From “Road to Hell” through to its reprise, they delivered strong vocals, confident framing, and a masterful sense of storytelling that kept the audience tethered to the tragic arc of the plot.
Isabella’s Eurydice was mesmerising, both in her vocal delivery and her ability to express raw, haunting emotion. Her opening number, “Any Way the Wind Blows”, was sung with a rich tone, supported by beautiful harmonising from the Fates. Another highlight was her rendition of “Flowers”. Isabella possesses a soft, gentle quality to her voice which retains power and richness, flourishing into emotion-filled belts. This was perfectly suited to the role and allowed her to truly shine as a survivor navigating the cold realities of the underworld.
Finley’s Orpheus was optimistic, innocent, and romantic, with a vocal performance that was consistently exquisite. The range displayed in ”’Come Home With Me” was remarkable, and throughout the “Epic” cycle, his ethereal falsetto remained beautifully delicate, capturing the otherworldly nature of the character’s song. This provided a stunning contrast to the resonant power of his chest voice in “If It’s True”, where he truly packed a punch. Finley did a fantastic job of portraying this romantic lead. His duet “All I’ve Ever Known” with Isabella was spine-tinglingly good, their palpable chemistry further adding to these superb performances.
Jemima’s Persephone burst into the narrative in “Livin’ It Up on Top” with sass, attitude, and smooth vocals. She drove comedy into her lines with ease, and her physicality in “Way Down Hadestown” was captivating, but “Our Lady of the Underground” was the pièce de résistance, capturing the eccentricity and absurdity of Persephone with true professionalism without missing a single note. Jemima certainly has a bright future in musical theatre.
Nikita’s Hades was understated and intimidating; his small character choices – such as lowering his glasses to take a lingering look at Eurydice upon their first meeting – contributed to a fully formed villain that absolutely dazzled. His drawling, Johnny Cash-inspired singing voice was perfectly pitched for the King of the Underworld. “Hey, Little Songbird” and “Chant (Reprise)” showed this off to full effect, sounding as though they were pulled straight from a classic country and blues album.
The Fates – Iliana, Carmen, Bella, Phoebe, Annie, and Isla – were another delight, harmonising effortlessly in “Any Way the Wind Blows” and leading the Charleston-inspired choreography in “Way Down Hadestown”. Their harmonies, perched on the front of the stage in “When the Chips are Down”, were absolutely beautiful, and they moved in eerie unison through “Word to the Wise”. All six were a joy to watch, fully committed to their roles as the haunting observers of destiny.
The ensemble supported the principals with fantastic synchronicity; their movements around the stage at all times – whether in dance or acting – felt natural rather than strictly blocked. There was not a moment where this ensemble was not completely and utterly committed to their characters, with a palpable energy and excitement from the very beginning of the opening number, “Road to Hell”. The choreography by Mrs Amanda Schofield was full of creativity, capturing the soul of each musical interlude, particularly so in “Livin’ It Up on Top” and the industrial, rhythmic sequences of the underworld. This vibrant movement was delivered by the cast with fantastic precision. It seemed every choice was made with purpose; from the clever use of the theatre’s stage trap at the close of “Way Down Hadestown”, to the use of a revolving platform in the underworld to stage the Workers’ Chorus choreography in “Chant” representing their grinding, endless toil.
As if all this were not impressive enough for a school production, the cast were accompanied by a full live band on stage. They created a rich jazz and country sound that would fool anyone into thinking they were a professional pit band. Celine, Catherine, Emily, Dorothy, Tony, Albert, Jack, Bruno, Levi, and Jason – led by Musical Director Mr Jason Mathias – deserve immense kudos for an absolutely fantastic performance.
Brighton College produced a show that perfectly captured the timeless, cyclical nature of hope and tragedy. One could quite easily have believed that this was a West End production: not only were the leading cast superbly talented, but the chorus was a powerhouse of professional support. Every element of direction and design was absolutely spot on, culminating in a piece of mythic perfection.