Centrestage Productions Youth Theatre [CPYT] 
Rose Theatre, Barton Peveril Sixth Form College, Eastleigh 
Anne Waggott 
30 October 2025
WOW!
There aren’t many amateur productions, let alone amateur youth productions, where my jaw virtually hits the floor from the start – and pretty much stays there for the rest of the production… but this is definitely one of them!
Although I was aware of its existence, Hadestown is a show that has so far completely bypassed me, so I arrived at the theatre without any preconceived expectations for the production. Having had the privilege of watching many CPYT shows over the years and always being impressed with the quality, enthusiasm, dedication, passion and memorable performances from this very talented youth group, I did expect to be thoroughly entertained… and I wasn’t disappointed!
For the equally uninitiated, Anaïs Mitchell’s Hadestown is a contemporary poetic musical based on the ancient Greek myth of Orpheus and his wife Eurydice, and their respective unforgettable journeys to the Underworld (and back again…?). Incorporating two intertwined love stories – a blossoming new love between Orpheus and Eurydice, and the jaded relationship between Hades (King of the Underworld) and his wife, Persephone – this is a timeless version, reflecting a metaphor for current nature versus industry conflicts in a personal and emotional way.
The harsh urbanised set, proper costumes, and wonderfully atmospheric lighting and effects, all combine to draw you into the “up top” world and the industrialised Underworld. And yet, there is so much more than first-rate production elements to make this show so extraordinary. Directors Mike Mullen and Liz Segal, Musical Directors Rachael Thorpe and Ian Partridge, and Choreographers Summer Hughes and Jack Fenner, take a well-deserved bow!
CPYT have a justified reputation for nurturing talent throughout the age groups, with the principals tending to “earn their stripes” over time. So, it seems unusual for 7 out of 8 principals to be making their CPYT debuts with the Hadestown Teen Edition. However, the chemistry and synchronicity of these new (to the group) principals and ensemble surpasses many more established adult companies – made all the more impressive when I learned that they’d had just 12 rehearsals to pull it all together over 8 weeks!
The music, a brilliantly constructed fusion of jazz, folk, rock and blues, eliciting a ‘Deep South’ vibe and narrative that I absolutely loved, is complex and extremely challenging to pull off successfully – but the entire company have done just that. With the equally impressive musicians at the back of the stage, in full view throughout, and both principals and ensemble using mics throughout, there’s a perfect balance between voices and instruments. The choreography is sharp and slick, with a range of styles, which is impeccably executed by all. Every movement has been clearly designed and directed to the nth degree, and yet seems totally natural and organic – not an easy feat to achieve.
The principals, ideally cast, are unanimously superb. With no dialogue as such (although the musical style does merge the particularly challenging “singing speech” style with a poetic delivery), the score is demanding on young voices, which makes their vocal interpretations even more remarkable: pure and innocent falsetto/folk voice of Ronnie Ellis (Orpheus), powerful and passionate folk/blues vocals from Abigail Fairman (Eurydice), sassy and emotive voice of Eva Perraton (Persephone), the deep, gravelly menacing vocals from Matt Harris (Hades), and the exquisite harmonies from the trio of Fates (Immy Perrin, Rosie Drennan and Asia Kokorina). Not only do they sing stunningly well, but their acting is also magnificent, compelling, and never falters, perfectly in tune with their characters: idealistic and naïve Orpheus, spirited and pragmatic Eurydice, soulless and authoritative Hades, feisty and vivacious Persephone, and the enigmatically mystical Fates.
With such an outstanding range of principals, it does seem churlish to single out one over the others… and yet George Singleton’s performance as Hermes, the show’s fascinating narrator and Greek god of messengers, known for his speed and cunning, is truly remarkable. From the moment he walks onto the stage at the very outside, in total silence, barely lit, and with his very first note, he has the audience in the palm of his hand. Mesmerising, sharp, slick, charismatic, with an outstanding and smooth jazz styled voice and flair for comedy, he commanded the stage and stole the show for me (in the best possible way!).
The ensemble is as focused and polished as the principals, creating individual characters above ground and enslaved collectives in the industrialised Hadestown of the Underworld, where they have forgotten their past lives and personalities, becoming haunted clones of each other. With synchronised movements and clear complex vocals, they navigate the low entrances and oil drums with skill and aplomb.
Is there anything that could be improved…? Yes – a larger audience to see this exceptional and most professional of amateur productions!
There are three more opportunities to watch this remarkable show: it continues at The Rose Theatre, Barton Peveril Sixth Form College, Eastleigh from Friday 31 October – Saturday 1 November (7:30 pm each evening with a 2:30 pm Saturday matinee), tickets available online here. CPYT’s Hadestown Teen Edition is a highly recommended production – I urge you not to miss out!
