Eva Noblezada

Hadestown

18/10/26

Dominion Cinema, Edinburgh

For a very long time now, my musical-mad daughter has been urging us to check out Hadestown, declaring it to be ‘the best musical ever.’ Of course, seeing it would necessitate a trip to that London and the eye-watering cost of a couple of seats in the West End, so this cinematic release, featuring the original Broadway cast, really couldn’t come at a better time. As ever, the Dominion cinema offers the most luxurious surroundings for watching it.

Based on the myth of Orpheus and Eurydice, this two-act musical is set in the titular town, situated somewhere on the railway line to hell. (As any estate agent will tell you, location is everything.) The place has an energetic nightclub feel with a superb live band fully integrated into the action. Our master of ceremonies is Hermes (André De Shields), an elderly gentleman who never allows his years to get in the way of his spectacular vocal abilities. He introduces us to the various players. Orpheus (Reeve Carney) is a humble barman and musician, who has a winning way with a song, while Eurydice (Eva Noblezada) is a wandering woman seeking refuge and a place to belong. Orpheus is, of course, instantly smitten with her.

Then there’s the high-spirited Persephone (Amber Gray), enjoying her annual holiday from her all-powerful husband, Hades (Patrick Page). She loves him but he can be rather demanding. Persephone is all ready to kick up her heels and make a song and dance about her short-lived liberation. But wouldn’t you just know it, Hades unexpectedly drops by for a quick visit and his avaricious gaze falls upon Eurydice – and pretty soon she’s taking that downward journey to the Underworld…

Everybody knows the central story and its sad conclusion, so it’s to this production’s credit that it all feels so fresh, so spirited, so unfettered. With both book and blues-inflected songs by Anais Mitchell, this takes off at a gallop and never falters, delivering a mix of uptempo belters and soaring ballads with absolute authority. Carney’s lilting falsetto offers genuine thrills and he’s nicely contrasted with Page’s deep baritone, which is particularly effective on Why We Build the Wall – a song with eerie connotions to Trump’s America, even though this show originated way back in 2006 and had a long, slow transition to its first Broadway run in 2019.

It’s clear from glimpses of the spellbound audience at this recent reunion that Hadestown’s audience is predominantly young and that they are avidly hooked on every detail, applauding exuberantly when Page manages a dance routine despite the orthopedic boot he’s wearing after a recent accident. Choreographer David Neumann has the whole cast leaping and whirling with precision across the crowded stage and special mention should be made of the three Fates (Bella Brown, Madeline Charlemagne and Allie Daniel), who all have voices to beat the band. Rachel Hauck’s ingenious set, which makes full use of its circular design really comes into its own during the centrl couple’s journey through the underworld.

The only real criticism I have of this filmed version, directed by Brett Sullivan, is the absence of an interval between the two acts, which means that those in need of a quick toilet break do risk missing a few minutes of the action before they can get back to their seats. But that’s a minor niggle. Hadestown is an exquisite, inspired and downright thrilling musical experience that revitalises a familiar story – and it’s easy to see why it has acquired such a devoted following.

While I hesitate to agree with my daughter that this is the ‘best ever’, it’s certainly up there as a contender and I’m really glad she put me on to it – and if it shuffles its way into a cinema near you, don’t miss your opportunity to see it.

5 stars

Philip Caveney

Luck

16/07/23

Apple TV

After experiencing some er… issues at his old outfit, former head honcho of Pixar John Lasseter has formed his own studio, Skydance Animation, along with a whole bunch of other producers. Their first release, Luck, an Apple original, has all the visual hallmarks of a Pixar production, though directors Peggy Holmes and Javier Abad – and writers Kiel Murray and Jonathan Aibel – don’t seem able to negotiate the fine line between emotion and mawkishness quite as skilfully as Pixar do.

The film starts confidently enough with orphan Sam (Eva Noblezada) turning eighteen and accepting that the ‘forever family’ she’s always longed for simply isn’t going to happen. She must strike out on her own, find a job and learn to fend for herself. It’s refreshing to see an older protagonist at the centre of an animated story and, when we learn that Sam’s always been cursed with bad luck, the point is skilfully demonstrated by a series of beautifully-timed slapstick routines.

But Sam’s luck changes dramatically for the better when she shares a snack with a talking black cat called Bob (entertainingly voiced by Simon Pegg in a dodgy Scottish accent. Don’t worry, it’s explained later…). Bob leaves behind a lucky penny, which Sam picks up – whereupon, her own luck changes for the better. If she drops a slice of toast now, it lands jam side up! But Sam vows to give that penny to a little girl at the orphanage, who Sam knows is hoping to be adopted.

When she inadvertently drops the penny down a toilet, Bob comes back in search of it – and, before she quite knows what’s happening, Sam is accompanying Bob to the legendary ‘Land of Luck’ in search of a replacement…

Luck is a bit of a mixed bag. The early sections, set in the real world, work just fine and hit the chuckle buttons, promising a thoroughly enjoyable experience – but, once in the fantasy world, everything becomes a bit too complicated for its own good and, as a result, it feels less assured. The story galumphs along at full steam expecting us to take a lot in our stride: a tribe of penny-polishing leprechauns with awful accents (no excuses offered this time); a Queen dragon voiced by Jane Fonda; a leprechaun captain (Whoopi Goldberg); and a camp moustachioed unicorn called Geoff (Flula Borg), who is fond of a workout down the gym.

But then it turns out there’s also a Land of Bad Luck and, when Geoff’s complicated machinery (it keeps the two opposing forces balanced) goes a bit haywire, we’re told there’s a danger of all the good luck in the world disappearing, a possibility that unfortunately generates no jeopardy whatsoever.

Not awful then, by any stretch of the imagination, but frankly not in the same league as some of Pixar’s big-hitters – though, truth be told, even they are struggling to reach their former heights. Why would that be I wonder? Bad stories? Bad management decisions ? Or just bad luck?

You decide.

3.4 stars

Philip Caveney