Lichfield Musical Youth Theatre – Hadestown
Lichfield Garrick
Wednesday 23rd September 2026 Opening Night
By Nigel Gambles
Photography – Lichfield Musical Youth Theatre
★★★★★ — Five stars simply aren’t enough.
Every so often, you walk into a theatre expecting an enjoyable evening and leave having witnessed something truly extraordinary. Last night’s opening performance of Hadestown was one of those occasions.
This ambitious youth theatre production was outstanding in every department. From its remarkable young cast and superb live orchestra to the exceptional choreography, atmospheric lighting and ingenious revolving stage, it delivered an evening of musical theatre that will stay with me for a very long time.
Welcome to Hadestown
Based on the ancient Greek myth of Orpheus and Eurydice, Hadestown tells a tragic tale of love, hope, temptation and sacrifice, weaving together the stories of two very different couples: the young lovers Orpheus and Eurydice, and the troubled marriage of Hades and Persephone.
Guiding us through this world is Hermes, our narrator and companion, who opens the show with Road to Hell and introduces the characters whose lives we will follow.
And what an introduction it was.
Jack Rowlands, at just twelve years old, was quite simply remarkable as Mr Hermes.
From the moment he stepped onto the stage, he commanded it. His confidence, charisma and natural stage presence belied his age as he broke the fourth wall, drew us into the story and guided us through its unfolding tragedy.
He performed with the heart and assurance of a seasoned entertainer, establishing an immediate connection with the audience that never faltered.
Remember the name Jack Rowlands. I have a feeling we’ll be seeing it in West End programmes before too long.
As Orpheus, JJ Watkins beautifully captured the innocence of a naïve, starry-eyed romantic whose faith in love and the power of music drives the story forward.
Opposite him, Molly Darby gave a deeply affecting performance as Eurydice, a young woman whose independence and resilience mask a desperate need for the simplest things in life: food, warmth and shelter.
Her journey from guarded self-preservation to a growing tenderness towards Orpheus was beautifully portrayed. When circumstances lead her to sign away her soul to Hades, the tragedy of their love becomes all the more poignant.
Together, Watkins and Darby brought genuine emotional depth to these doomed lovers, making the audience invest completely in their journey.
The second half maintained every bit of the first half’s extraordinary standard, beginning with a wonderful performance from Beth Whispear as Persephone.
Her singing was superb, and her increasingly playful, inebriated dancing was a delight to watch. Beneath that exuberance, however, lay a woman desperately trying to hold on to the love she once shared with her husband.
As Hades, Zach Daniels-Sully was commanding. His deep, booming voice perfectly conveyed the character’s strength, authority and power, while his presence brought a formidable weight to the underworld.
The chemistry between Whispear and Daniels-Sully was excellent. Persephone longs to recover their relationship while Hades remains consumed by his own world and nature. When the two eventually reconnect, their dance together is pure poetry — a beautiful moment of tenderness amid the darkness.
Throughout the story, the three Fates — Imogen Willis, Yohanna Gee and Niamh Mulligan — exert their unsettling influence over gods and mortals alike.Their taunting and manipulation feed the lovers’ doubts and fears.
Their combined voices were hauntingly beautiful, blending exquisitely, while each performer was equally compelling in her solo passages.
Their movement around the stage seemed more like floating than walking, an ethereal quality enhanced by their beautiful costumes. They brought an extraordinary visual and musical beauty to some of the story’s darkest moments.
The company of approximately 25 young performers filled the stage with infectious energy, enthusiasm and remarkable discipline.
The powerful ensemble scenes were choreographed with tremendous precision, using every inch of the performance space. Whether portraying the workers of Hadestown or contributing to the larger musical sequences, the company created a spectacle that was as impressive in its coordination as it was in its vitality.
There was never a sense of young performers merely filling the background. Every member of the company contributed to the world being created before us.
The staging itself was ingenious. Two revolving sections were used to striking effect, particularly during the scenes involving the workers of Hadestown and Orpheus’s journey out of the underworld.
Wafts of smoke rose through the stage, combining with the atmospheric blue and amber lighting to create an almost living, breathing underworld.
The revolving stage was not simply an impressive technical feature; it became an integral part of the storytelling, giving the production movement, momentum and an extraordinary sense of place.
At the helm of this ambitious project, director Richard Poynton delivered an exceptional production.
Bringing together a large young company, demanding musical numbers, intricate staging and a story of considerable emotional depth is no small undertaking. Yet every element felt purposeful, assured and beautifully integrated.
Jessica Bennett’s choreography was nothing short of extraordinary. Considering the sheer weight of ensemble work, the precision and energy achieved by the company were particularly impressive. The movement was never simply decorative; it helped tell the story, creating powerful images and bringing the world of Hadestown vividly to life.
Holding everything together was Oliver Rowe, the company’s Chairman and Musical Director, who also conducted the live orchestra from the keyboard.
His superb musical direction provided the foundation for the evening, allowing the remarkable young voices, demanding choreography and emotional storytelling to work in complete harmony.
The live orchestra added tremendous richness and atmosphere, bringing the score to life and remaining an essential part of the theatrical experience.
The first half was breathtaking. The second was every bit as strong.
I left the theatre having witnessed something truly special — a production filled with energy, heart, imagination and performances that will remain with me long after the final curtain.
