A new touring stage version of the 1971 Disney film Bedknobs and Broomsticks held a national press night last Friday at Canterbury’s Marlowe Theatre, after previewing beforehand at Newcastle Theatre Royal. The tour is currently booking to May 2022.
Sonia Friedman Productions is celebrating after the Broadway transfers of The Ferryman and Ink garnered six wins at the 2019 Tony Awards, while the National Theatre had plenty to be happy about following Bryan Cranston being named Best Leading Actor in a Play for Network and Hadestown (which finished a run at the National in January this year) scooping eight awards.
I’m not quite sure how I managed to miss Hadestown at the National Theatre before it transferred to Broadway, where it has picked up 14 Tony Award nominations.
Sam Mendes’ Olivier Award-winning production of Jez Butterworth’s The Ferryman received equal top billing at this week’s Tony Awards 2019 nominations announcement alongside the hit Broadway production of To Kill a Mockingbird. The productions both have nine nods including ones for Ferryman actors Paddy Considine (Best Performance by an Actor in a Leading Role in a Play), Fionnula Flanagan and Laura Donnelly. The …
Anaïs Mitchell has instigated something special, and I hope, and expect, Hadestown to evolve further throughout the years, as each new version creates its own musical and mythological traditions.
This year has been a whirlwind year full of amazing theatre. I was lucky enough to see a total of 150 shows so whittling them down to a top 10 was extremely difficult. Although this list is in order, I really loved each of them equally as they all moved me in a particular way and provided some theatrical treats.
Normally I do two of these – Top Ten Shows and Top Ten Performances – but this year I’m combining the two – plus some sundry other awards.
Singer-songwriter Anaïs Mitchell’s ‘folk opera’, Hadestown, is based on the Orpheus and Eurydice myth, the ultimate ancient story about music.
Love London Love Culture rounds up the reviews for singer-songwriter Anaïs Mitchell and director Rachel Chavkin’s interpretation of Mitchell’s acclaimed concept album Hadestown.
Hadestown’s journey onto the stage of the National Theatre – and, indeed, its upcoming transfer to Broadway – has been as tortuous and precarious as the story it tells.
I try out the new smart caption glasses while watching Hadestown at the National Theatre and am blown away both by the show and the frankly amazing technology.
Folky, emotive, excellently performed and ever relevant, the National Theatre’s production of Hadestown is a grand triumph.
Running at the National Theatre prior to a Broadway opening, Hadestown offers a uniquely folksy and enchanting take on the tragic tale of Orpheus and his love, Euridice.
Hadestown is certainly a welcome contribution to London’s musical theatre. The excellent score and unrelenting criticism of corporate systems that enslave the poor in awful conditions and low pay give this show its value, along with the cast.
Bluesy, folky, beautifully paced and musically satisfying, Hadestown is a treat: touching without sentimentality and with enough topical bite to startle without hammering the point.
Now the National Theatre has a vibrant production of the musical Hadestown which premiered at the New York Theatre Workshop in 2016.
Big openers include Pinter 4 (Moonlight/Night School), the return of The Curious Incident of the Dog in the Night-Time (Piccadilly Theatre), Caroline, or Change at the Playhouse and Hadestown at the National (Olivier Theatre).
The National Theatre has announced that Amber Gray and Patrick Page will reprise their original New York Theatre Workshop roles of Persephone and Hades in Hadestown, running in rep at the Olivier Theatre from 2 November 2018 to 26 January 2019 (press night is 13 November).
Details have been released of the National Theatre’s season from May to September 2018. Highlights include the Uk premiere of Hadestown, with music, lyrics and book by Anaïs Mitchell, the return of Follies and Patrick Marber’s new version of Eugène Ionesco’s Exit the King.