The Dominion

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

NT Live: Les Liaisons Dangereuses

25/06/26

Dominion Cinema, Edinburgh

The latest offering from NT Live has arrived in cinemas and there’s only one venue in Edinburgh swish enough to do it justice. We book a reclining sofa at The Dominion and settle down, prepared to be blown away – and we most certainly are. This stunning adaptation of Christopher Hampton’s 1985 play (based upon the 1782 novel by Pierre Choderlos de Laclos) incorporates Hampton’s wonderfully witty and unflinchingly brutal dialogue punctuated by stirring dance sequences where everyone – including the leads – hoofs up a storm. Marianne Elliott directs the huge cast with consummate skill, while choreographer Tom Jackson Greaves has the lavishly costumed performers prowling, spinning and leaping around Rosanna Vize’s extraordinary set, where scores of mirrored doorways reflect the action like a kaleidoscope of intrigue.

The Marquise de Merteuil  (Lesley Manville) and the Vicomte de Valmont (Aidan Turner) are old acquaintances. Once lovers, they are now notorious philanderers, who spend their time seducing, exploiting and humiliating virtually everyone they encounter, taking delight in the chaos they create. It’s clear that Valmont still carries a torch for Merteuil so, when she makes a wager with him, he quickly accepts the challenge. She will spend one more night with him, but only if he can manage to seduce two women: the virtuous wife, Madame de Tourval (Monica Barbaro), and Cécile de Volanges (Hannah van der Westhuysen), an innocent young girl, currently infatuated with her music tutor.

Valmont sets to work, mercilessly exploiting both women without a thought for the destruction he is wreaking – and little realising that Merteuil has elaborate plans of her own…

All the leads play their roles with absolute conviction, Turner relishing his characterisation of a brutish, swaggering hedonist without a single qualm about the cruelty he inflicts on his targets. Manville matches his arrogance with a sly, smiling assurance that tells us she has his measure and knows exactly how to handle him. (It’s fascinating to note that back in 1985, Manville played Cécile de Volanges on Broadway.)

Barbaro, meanwhile, is utterly compelling as a God-fearing woman, struggling to resist her inner demons and utterly destroyed when they finally overcome her. Van der Westhuysen also excels as an ingénue, blissfully unaware that she is destined to inherit all the guiles of those who have used her so cruelly.

But the ensemble are much more than bit-players: every performer on the stage gives the show their all. If the first half is sensational, the second – as all the carefully-layered plot threads come hurtling to their inescapable conclusion – is utterly thrilling.

A seat for this show in London’s West End, would cost you hundreds of pounds, but here’s your opportunity to make your own dangerous liaison closer to home at a more affordable price.

5 stars

Philip Caveney