Theatre fans in Australia have been spoiled of late with outstanding major musical productions playing our stages for the first time. They don’t always find their audience; the premature closure of Dear Evan Hansen is a prime example. But I do hope that the industry continues taking chances on “fresh” works. The latest is Hadestown, which took home eight Tony Awards in 2019 including best musical.

I must admit, that was nearly all I knew about Hadestown, but it was enough to encourage me to grab some tickets. Sure I knew it was based on Greek myth and was aware of the roles its original Broadway cast assumed, but I was essentially flying blind. I love experiencing art like that, letting myself get swept up in the story and songs.

It’s very easy to get swept up by Hadestown. The characters break the fourth wall from the start, encouraging you to become part of their world, or should I say worlds. The mortal world feels like a New Orleans speakeasy, vibrant and full of life, a stark contrast to the cold dictatorship of the Underworld. Against these backdrops, the love story of Orpheus and Eurydice plays out.

If you know your mythology, you know exactly how it plays out. If you’re paying attention to the songs, you know how it plays out. And yet, when this production reached its climax, you could hear an audible, collective gasp. We weren’t ready.

Any production that can draw its audience in as Hadestown does is a winner in my book. I was so emotionally invested. While the Broadway bones play a role, so too does what the Australian cast brings to it. What a special collection of artists they are. Christine Anu is the only big name, returning to the theatre stage so many years after her debut in Rent. Her Hermes is undeniably Aussie, warm and wise. I appreciate that she stamped her own mark on the role rather than simply following Broadway legend Andre De Shields’ lead. Abigail Adriano and Noah Mullins are so compelling as Eurydice and Orpheus, playing their roles with earnest, youthful enthusiasm. I doubted anyone could embody Hades as well as Patrick Page, but our own Adrian Tamburini gives the Broadway icon a run for his money. Elenoa Rokobaro is such an incredible chameleon as Persephone, sunshine and fire depending on what the scene needs. And that voice! Speaking of voices, the Fates gave me chills every time they launched into their exquisite harmonies.

While most musicals hide their musicians in an orchestra pit, Hadestown makes them part of the show. They add to that speakeasy feel, showcasing their incredible talents on the stage and interacting with the rest of the cast.

There’s so much to love about Hadestown, I sincerely hope that Eora/Sydney and Naarm/Melbourne audiences get behind it. I understand that the cost of living is high and there’s so much competing for your entertainment dollars, but it’s one of the most impressive works I’ve seen. Don’t let this one pass you by.

Hadestown is at the Theatre Royal in Eora/Sydney until April 26, then plays Her Majesty’s Theatre in Naarm/Melbourne between May 8 and July 6.