HADESTOWN TEEN EDITION: Strathcona High School

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By Kylie Flanders

Mother Margret Mary

A Songbird’s Sorrows

One Gorgeous Retelling of Love, Loss, and the Cycle Between

A fiery end for a beyond fiery performance; Strathcona High School's “Hadestown”, written by Anais Mitchell and masterfully directed by Linette Smith, will be a tale retold thousands of times over. Despite ending with an alarming final performance, the students of Strathcona have undoubtedly broadcasted their incredible talents for the world to revel in, or at least those who had the infinite pleasure of witnessing it.

Hermes, played by Libby Peterson, leads the audience through a tale as old as time; the tragedy of the young lovebirds Orpheus and Eurydice, played by Gradin Morris and Emma Stoddart. Their love blossoms as summer returns to the overworld, however such fleeting joys are fated to wilt. Struck with hunger in the face of Orpheus’ inability to provide, Eurydice is seduced by the wealthy Hades, played by Lorenz Nilsson, and trapped in his concrete dystopia, Hadestown. Orpheus must pass trial after trial with only his song to guide him, and at the crux of his grief, only the similarities of love old and new can save his Eurydice… but we all know the story’s unfortunate end.

A major performance I must commend is Emma Stoddart’s portrayal of Eurydice. With an overall outstanding vocal performance, her talent is beyond any semblance of a doubt. Her solo performance of “Flowers” sent a spear of grief through my heart, watching the pragmatic heroine I had grown to love slowly lose herself in the tar-black embrace of hell. Every melisma executed to perfection, and with each another goosebump raised on my skin. The aiding vocalists of The Fates, played by Nife Ogunkoya, Ella Jenson, and Demilade Onanuga, also stood out with their seamless harmonies like melting butter through the air. Each chord rang like church bells in the auditorium and various harmonized glissandos cut the air as arrows from their mouths.

The lighting department shared this accuracy in their usage of lights to create the perfect atmosphere. During the montage of Orpheus and Eurydices braving the darkness at the exit of Hadestown, a thin beam of light perfectly framed the emotions of both of the lovers and the isolation the trek entailed. I was almost suffocated in my seat, knowing the end but so desperately rebuking its inevitability; a feeling accentuated by the lighting. Such feelings were also elevated by the blocking of the chorus, establishing setting, actions, and threats with movement alone. One of my favourite examples was the portrayal of Hades’ wall as an actual wall of people: the chorus crowded together in a square, almost mimicking brutalist architecture.

The form added to the already dreary atmosphere of Hadestown, informing the audience of the town’s true appearance and overall aesthetic, beyond words. Strathcona’s “Hadestown” was magic put to stage. From voices blessed by the Gods to the unique establishment of setting and emotion through deliberate blocking, this show presented something truly, substantially incredible. In spite of all setbacks, even that of a real fire alarm during their final performance, Strathcona’s “Hadestown” is a show to be remembered: a story to be told time and time again.

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By Chelsea Bell

Louis St.Laurent

Spring came early this year at Strathcona High School with a breathtaking production of Hadestown: Teen Edition. Based on the myth of Orpheus and Eurydice, Anaïs Mitchell's modern folk opera pulls audiences into a vividly imagined underworld where music and fate intertwine. Strathcona's talented cast brought to life a world of industrial grit and ancient longing with haunting melodies, electric choreography, and heartfelt performances. Every note, movement, and glance deepened the emotional impact, reminding us of the timelessness of hope and heartbreak. With powerful vocals and inventive staging, Hadestown showed that music and love can find a way even in the darkest places. 

With such a heavy ensemble cast, every actor shined in their own way, making a beautiful impact on the show, delivering a captivating performance from beginning to end, and always succeeding in holding the audience's attention. A few performers who consistently drew my attention were Phoenix Brundin and Orpheus, whose earnest sincerity and soaring vocals beautifully captured Orpheus' dreamer spirit. Bridget Gutteridge-Hingston gave Eurydice a compelling mix of vulnerability and strength, moving her journey deeply. As Hades, Lorenz Nilsson commanded the stage with chilling authority and magnetic presence, perfectly balancing menace and charm. Eve Thompson's Persephone lit up every scene with vibrant charisma and emotional depth, bringing the character's rebellious joy and aching sadness to life. Libby Petersen was a dynamic and engaging Hermes, effortlessly guiding the story with sharp narration and a cool, confident edge. As the Fates, Nife Ogunkoya, Ella Jensen, and Demilade Onanuga worked in perfect harmony, weaving together haunting vocals that gave the show its ominous tension. Every performer embraced their role with passion and precision, creating a visually stunning production. 

This show's attention to detail was impressive. Andy Rockwell's outstanding lighting design and Ryder Link's remarkable work as set head elevated the production, creating powerful stage pictures. The inclusion of a live seven-person band added richness and immediacy to the storytelling, which was absolutely brilliant. Given that Hadestown is structured in an operatic style with minimal spoken dialogue, my favourite numbers in the show include "Road to Hell," "Any Way the Wind Blows," "Come Home With Me," "Wedding Song," "Livin' it Up on Top," "Way Down Hadestown," "Chant," "Hey, Little Songbird," "Wait for Me," "Why We Build the Wall," and "Wait for Me (Reprise)." These songs impacted this show and made it entertaining from start to finish. 

This team brought the show together through every minor detail, beautiful imagery, physical acting, and emotional connections. With the ensemble, cast, and, most importantly, the crew, you can see the effort they put into this show. Through every minor detail, the choreography, acting, props, set, and lighting design made this performance breathtaking. The effort they put into this show, including their commitment, professionalism, and friendship among the cast, was inspiring; this company perfectly represented the true meaning of Hadestown.

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By Lulu Finol

Mother Margret May

Go Way Down to Hadestown!

We Raise Our Cups to Scona’s Incredible Musical Production

Have you ever imagined your favourite Greek myth being adapted into a heart-wrenching musical? Strathcona High School brought Anaïs Mitchell’s “Hadestown” to life with stunning finesse. Featuring 38 songs blending folk, jazz, and gospel music, the production showcased remarkable skill both onstage and off. With students hard at work since November,  Scona Theatre Co. delivered a performance that kept the audience captivated; and even moved some to tears.

If “Hadestown” sounds unfamiliar, it may be because the Tony-winning musical only debuted Off-Broadway in 2016 and in Edmonton a year later. Scona staged the teen edition, but the songs and story stayed true to the original. Set in a post-apocalyptic world shaped by early 20th-century hardship, the god Hermes introduces the tale of Orpheus and Eurydice. Orpheus, an optimistic musician, falls for the cautious and survival-minded Eurydice. Though wary of their poverty, she agrees to marry him when he promises a song powerful enough to bring back spring. Meanwhile, Persephone’s seasonal return briefly revives the land before she must return to Hadestown, the oppressive underworld ruled by her husband, Hades. Tempted, a desperate Eurydice accepts Hades' offer to work there. Upon hearing of her disappearance, Orpheus sets out to rescue his love!

The cast was absolutely stellar and breathed new life into their characters. A notable example is Libby Petersen, who portrayed a female interpretation of Hermes; a departure from the original casting of the show. Her effortless charm and powerful vocals made her stand out. Standout vocalists included Eve Thompson as Persephone, with her silky tone, and Lorenz Nilsson as Hades, whose deep register captivated the audience. Phoenix Brundin, who learned guitar for the role of Orpheus, joined other live musicians on stage; while his chemistry with Bridget Gutteridge-Hingston perfectly captured young love. Additionally, the large ensemble impressed with their energy and range, nailing complex numbers like “Chant” and “Why We Build The Wall”. 

Multiple technical elements were top notch but the lighting was a standout, with colors creatively representing specific characters and areas, like the purple spotlight on Hades in moments of his power (designed by Andy Rockwell). The GOBO effect in "Flowers" was also stunning. The multi-layered, rugged set featured moving parts, including a rotating platform spun by the students on stage. To add, the costumes were detailed and period-accurate. Subtle but clever touches included Hades’ cog pin, dead flowers adorned on his and Persephone’s outfits in Act II (designed by Julie Phillips), and chokers and turtlenecks on the underworld workers to signify they’re under Hades’ control. 

Overall, Strathcona High impressed with their rendition of “Hadestown”, delivering gorgeous vocals, tight choreography, and intricate technical craftsmanship. This musical tale, celebrating old memories and the power of standing up for yourself and those you love, will resonate with Greek mythology fans and theatre kids alike. Word to the wise: don’t ever miss a Scona Theatre Co. production!

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By Avery Pelletier

Morinville Community High School

Stunning in every aspect, Strathcona High School’s production of Hadestown: Teen Edition was sweet music to the ears of Greek mythology and musical theatre nerds alike. 

To seasoned members of the Edmonton theatre scene, “Hadestown” is certainly a familiar title. In 2017, Edmonton’s very own Citadel Theatre hosted a 3-week run of the musical, a sort of pre-Broadway tryout before the production arrived at the Walter Kerr Theatre in New York in 2019. In 2024, a special “Teen Version” of the show, which includes only minor edits to the length and key of certain numbers, was released for young performers. Set in Prohibition-era America, this sung-through musical is a take on the classical Greek myth of Orpheus and Eurydice. With it’s jazz and folk influence, Hadestown’s soundtrack is touching and intimate, and perfectly underscores the bittersweet tragedy of its source material.

From a poet, to a king, to a young girl looking for something to eat, all of the performances in Scona’s Hadestown were top notch. Libby Petersen, who played Hermes, took on a role typically designated for male actors and made it uniquely her own. Her effortlessly cool and measured delivery made her an excellent pick for Hermes, who serves as a sort of narrator throughout the show’s events. Bridget Gutteridge-Hingston’s portrayal of Eurydice was rock solid yet petal-soft, and refined down to the smallest of details. Her facial expressions were authentic, and reflected the constant struggle for survival which her character faced. Playing opposite Gutteridge-Hingston was Phoenix Brundin, who brought true heart to his performance of the guitar-playing poet, Orpheus. The two actors had excellent chemistry onstage- it felt believable to the audience that Orpheus would quite literally walk through hell and back for Eurydice. 

In contrast to the soft and sweet love of the two protagonists, Lorenz Nilsson and Eve Thompson portrayed the strained relationship of Hades and Persephone with depth. Nilsson’s voice was strong and resonant, as deep as the underworld over which Hades ruled, and Thompson knew just how to bring the energy up in songs like “Livin’ it Up on Top.” Special care was taken by all parties to maintain tension, making it so the audience never lost interest. The incredible performances of the lead performers were only enhanced by the sheer power of Strathcona’s ensemble. Every corner of the stage was brimming with life, as the company sang out complex harmonies, and performed advanced dance routines to near perfection. Special shout outs go to Iris Dentzien and Onyx Maess.

The lighting design by Andy Rockwell and Eliot Francis was incredibly deliberate, with each look drawing the audience’s eye to exactly what they needed to see. Colour was utilized with precision to evoke specific moods, and the intentional lack of light which was used during “Wait For Me (Reprise) only enhanced the already excellent storytelling of the actors. 

Strathcona High School’s Hadestown: Teen Edition was, simply put, breathtaking. It was a production that, just like Eurydice, is impossible not to look back on.

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By Augustus Williams

Victoria School of the Arts

This past week I had the wonderful opportunity to walk the road to hell, or at least the road to the Timms Centre for the Arts, to see Strathcona High School’s production of one of my personal favourite pieces of theatre to come out of recent years, Hadestown. Written by folk singer/songwriter Anӓis Mitchell, Hadestown premiered on Broadway at the Walter Kerr Theatre in 2019. I’ve been lucky enough to have seen this show twice on professional stages - once at the Citadel during it’s pre-Broadway run, and again at the Jubilee Auditorium for Broadway Across Canada, and I have to say that Scona’s production of the teen version is held just as highly in my memory as those others. And let’s be honest - Hadestown is a difficult show for a highschool to pull off, with the leading men consisting of the two rarest male voice types, the leading women covering some ridiculous vocal ranges and styles, and a particularly challenging folk-based score that is far from conventional musical theatre. Despite all this, the students at Scona executed it remarkably well, and I can certainly say I left very pleasantly surprised by the amazing work they did.

When I saw this show, one of the first things I noticed was that the program listed two actors splitting each of the lead roles. Loving the story, and being curious about the double casting, I decided to come and watch a second time to catch both casts - and let me say, I absolutely understand why the director, Linette Smith, made that choice. Both Phoenix Brundin and Gradin Morris brought incredible and incredibly different interpretations of Orpheus to the stage, and I thoroughly enjoyed both of their performances. Orpheus is a challenging role, but Brundin and Morris each made the character completely their own. Bridget Gutteridge-Hingston and Emma Stoddart made for an amazing set of Eurydice's opposite their respective Orpheus’s. Each pair (Brundin/Gutteridge-Hingston & Morris/Stoddart) had beautiful chemistry on stage, and got the audience deeply invested in the hope that maybe they would get their happy ending this time through.

On the other side of the story, Lorenz Nilsson and Eve Thompson were stunning as Hades and Persephone. Watching their characters as they fall repeatedly in and out of love was just heartbreaking, and they both brought things to their vocals that I would not have expected from highschool students. Thompson wowed as the Lady of the Underground, stealing our attention with every line she sang. She also shone as a mover and dancer, someone who is clearly in their element on a stage. Nilsson had the audience speechless from the first time he opened his mouth, delivering Hades’ contrabass lines almost entirely in their original keys. A voice like his is rare even in the professional world, and hearing it from a highschooler was truly remarkable. A standout performance undoubtedly came from Libby Petersen as Ms. Hermes. Petersen is an animated and electrified, but still deeply grounded, actor, and a powerful singer. Her performance was outstanding on a technical level, cutting through with clarity and audibility, and filling space constantly without ever stealing attention from the focus of the scene. When she was the focus of the scene, she made it impossible for us to look at anything other than what she wanted us to - a trait of a truly remarkable storyteller.

Another element of this show that stood out for me was on a technical level, regarding the design. The lighting was creative and thought-out, clearly telling the story and making brilliant use of the equipment available at the Timms. Used to portray stars, train lights, tunnels, backup generators, and a plethora of other things, the designers, Andy Rockwell and Eliot Francis, did a wonderful job of bringing the world of the show to life. As well as lights, the costume and set crew truly outdid themselves. The set looks like something out of a professional piece of theatre, a strikingly artistic fixture that caught the eye immediately. The costumes reflected the characters wonderfully, with colour, texture, and all the elements of costume design coming together to tell us about their wearers. I’ve often heard it said that every piece of clothing a character wears on stage should have a story of its own, and I feel that everything worn in Hadestown was just dying to tell us something. As a whole, I believe that the entire cast and crew at Scona had a deep understanding of the story they were telling, and why it was being told. Hadestown is an incredibly beautiful love story, and despite its sad ending I think that one of the fundamental ideas in this show is hope, and these performers had us leaving with an abundance of it. As the show closes with one final reprise of the opening number, we completely believe what Petersen’s Hermes tells us, that though it’s an old, sad tale, they are going to tell it again. Maybe, just maybe, this time will be different.