HADESTOWN

Regular readers will be aware that I am passionately inclusive about my coverage of theatre, seeing as much as I can from professional companies and from local theatre groups. In recent years the latter proving that they are more than worthy of both mine and your attention. The one area that until recently I had not considered was school productions.

Back in my teenage years I was actively involved in the school drama society. Mostly designing and making sets and costumes, but one occasion playing the rather grim role of Sir Francis Walsingham in Robert Bolt’s Vivat Vivat Regina. I was not good. Back then we made the most of limited resources and barely any budget but it no doubt sparked my lifelong passion for theatre.

When I received an invitation to attend the first night of the Brighton College Senior School production of Hadestown I jumped at the opportunity for several reasons, firstly because I had never seen the show and had only listened to the music, secondly for the opportunity to return to the rather splendid Richard Cairns Theatre in the college campus.

There was also a third driving force and that was to see what a school with such a high academic reputation would produce in terms of musical theatre. I was already aware that as an educational establishment it had in place a high regard for the arts, but I was as yet to see that in action.

The theatre itself is astonishingly beautiful and as a theatre it is has the technical capabilities of any modern venue, and dare I say it, better than most. This is a state of the art space on a par with a theatre like Glyndebourne, and as good looking too.

So what would the senior students offer given the demands of the piece, albeit the teen edition.

Well from the moment of entering the auditorium I was impressed. The set was first class and the band, already in place, was made up of students, no scratch orchestra here brought in to do the job. And what a job, this music with rich jazz, blues, dance and folk influences is probably as far away from the classical training that music students undergo as part of the curriculum. Too many to name them all but some very fine playing throughout and in particular from the trombone, strings and drums.

Next to the ensemble, a massive presence on the stage and one that we seldom get to see with pro touring companies where budgets are tight. Here we had full scenes in bars and in the steamy heat of Hades’ underworld. Vocally powerful and precise, equally so in their movement and choreography too and making full use of the tech on offer with some very beautiful moments, stylish cameos and in particular a moment on the revolve that echoed that famous  illustration of the ascent of man. This was powerful stuff both musically and visually.

Hadestown is based on the story of Orpheus and Eurydice, shifted in time to the early 20th century, a gritty industrial depression era world and here the Fates are represented as grimly grey clad female nightclub hostesses, vamps, haunting figures, seductresses but ones who sing with real raunch but also so sweetly, perfect harmonies that would sit comfortably if required to render a madrigal.

And when it comes to raunch it doesn’t come much better than in the role of Persephone here played with astonishing maturity by Jemima Moon. Ms Moon is quite extraordinarily talented, a fierce and yet tender portrayal of the character and a voice and performance worthy of any professional company.

Nikita Gill’s Hades had real presence, statuesque and reserved until that rich bass baritone voice was unleashed and by the second half when the role is fully exposed some very fine acting too.

Throughout the story is narrated by Hermes, or should I say Mr and Mrs Hermes. Poppy Hillier and Argo Giles-Buabasah are superbly voiced and captivating in their performance, driving the story forward with both charm and yet sinister edge. Again creditable singing matched with fine acting.

At the heart of the story of course we have Eurydice, the lost and rather angry girl, struggling with the lot she has been given and on the edge of despair. Isabella Orman plays the part with such believable conviction, the sadness is tangible in both her dramatic performance but also in here vocal skill. This young woman can act a song, and few can do that.

Orpheus is her lover, a young songwriter, a dreamer and again something of a lost soul. Finlay Bruce embodies the part and in a way that an older actor would struggle to do. But that obviously youthful presence belies a maturity that many a pro would fight to achieve. This is a real talent and a voice that magically and seamlessly shifts from rich tenor to a rounded and pure falsetto worthy of the finest counter tenor. He delivers his numbers with both passion and sadness and his acting of the part is truly moving.

The production is directed with skill by Charlie Granville and the choreography, again so well crafted, balanced and relevant is by Amanda Schofield. The entire production team is drawn from across the school, tutors and students alike, both front of house and behind.

What really heartens me most though is that a school, currently rated as the best independent in the UK, and one that achieves stellar academic results, is giving so much commitment to the arts on so many levels. I left wondering if some of the talent on that stage was destined to a future in academia, science, diplomacy and the like, but was delighted to hear that at least two of the principles plan to study drama at a higher level. In a world where successive governments have abandoned support for art education in our state schools this put a smile on my face. Arts matter!

If this is what I have been missing over the years then I am deeply sorry and promise in future to pay more attention to the rising talents in our schools. I’m not entirely sure that employing the usual awarding of stars is entirely appropriate for a school production – but to hell with that, or should I say Hades!

Andrew Kay

20 November

The Richard Cairns Theatre at Brighton College

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