Hadestown at Theatre Royal Sydney

Ever since its Broadway debut in 2019, Hadestown has been at the top of my must-see list. I came tantalizingly close to catching the show – once in London and again in Sydney – but the stars didn’t align.

Then, in March 2025, the Fates finally stepped in. A last-minute work trip sent me back to Sydney, and I seized the opportunity, booking an early flight out of Perth to ensure I’d make the evening show.

Despite my anticipation, I deliberately avoided listening to the soundtrack or reading up on the story beforehand. I wanted to experience Hadestown with fresh eyes, completely unspoiled.

What unfolded over the next 150 minutes was nothing short of mesmerising – an emotional odyssey that left me spellbound and even teary-eyed.

How to book $55 tickets to Hadestown Australia

I was prepared to book any remaining seat on the day of the performance, but as Hadestown offers a $55 digital rush, I decided to give that a go first.

Rush tickets are released at 9am local time on the morning of each show. Being in Perth, that meant I was up just before 6am, ready to try my luck.

Right on 6am, I saw the dreaded message: ‘all tickets are being reserved by other customers’. But I persevered and kept clicking on the button. After a few minutes, my patience was rewarded with a prime seat – AA32, front and centre.

As I was a TodayTix Silver member from 2024, I still had a $5 TixCash voucher to use. Ultimately, I paid A$50 for the seat, which was excellent value.

My thoughts on Hadestown Australia

This was my first visit to Theatre Royal Sydney, which reopened in 2021. Typically, I see shows at the large Capitol Theatre or the Lyric Theatre at The Star. But the intimacy of Theatre Royal Sydney was the perfect fit for Hadestown.

The performance featured all of the main cast, except for Noah Mullins, who was absent from the role of Orpheus that evening.

Christine Anu as Hermes is a unique take on the role, particularly if you’re used to André De Shields from the Broadway Cast Recording. But Christine’s performance is delightful and distinctly Australian. She gives the impression of a warm aunty having a yarn with the audience, but infused with power and stoicism when the scene demands it.

Abigail Adriano is the perfect Eurydice, capturing the character’s range of emotions brilliantly. From her sassy flourishes at the start to the desperation in her voice once Eurydice is down below, Abigail hits the mark each time. And that ‘Wait for Me Reprise’? It’s filled with an intensity that needs to be seen.

Sam Richardson plays a sweet and vulnerable Orpheus. I wasn’t aware that he was an understudy until later, when I read more about the cast. He hit the falsetto notes cleanly, and his ‘Doubt Comes In’ was very convincing in showing Orpheus’ fundamental shift from hope to uncertainty.

Elenoa Rokobaro is a gritty Persephone who is convincingly tipsy throughout most of the show, while Adrian Tamburini makes a powerful impression as Hades with his incredible bass range. His background as an opera singer shines through.

Finishing out the main cast, Sarah Murr, Jennifer Trijo, and Imani Williams clearly delighted in tormenting the other characters as The Fates. Their harmonies and strong stage presence truly highlight the inner struggles of their victims.

I loved the minimalistic staging of Hadestown. Most of the musicians (barring the drummer) are on stage, led by Laura Tipoki on the keys during this performance. James Greening on the trombone is a particular standout.

The set is based on the US 1st National Tour, which swaps out the centre stage trap door for a ‘garage door’ under the balcony that’s used for key entrances and exits. Still, the set retains most of the effects of the Broadway original (based on what I’ve seen online), particularly a dramatic transition in ‘Wait for Me’.

From the front row, you miss out on seeing the floor revolve. But the view of the overall performance is outstanding. With the story unfolding literally metres away, it feels like you’re part of the action.

Hadestown is the brain-child of Anaïs Mitchell, who wrote the musical’s music, lyrics and book. It’s incredible to see her vision come to life after many years of workshops.

For $55 through TodayTix, it’s a steal. But I would happily go again to see Hadestown at full price. If there’s a last-minute work trip to Melbourne, you know where I’ll be: seeing it again… and again, as Hermes says.

Hadestown plays in Melbourne’s Her Majesty’s Theatre from 8 May 2025.