Review: Hadestown: Teen Edition - Bellvue Academy

Society name: Bellvue Academy

Show name: Hadestown: Teen Edition

Date of attendance: 28^th February 2026

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From the opening bars of Bellvue Academy’s ‘Hadestown: Teen Edition’, it was immediately clear that this wasn’t going to be any ordinary production. Staged in Gaelcholáiste Chéitinn, Clonmel, what unfolded was an extraordinary piece of theatre underpinned by remarkable maturity, musicality and storytelling craft. It was not just impressive for a cast of young performers. It was impressive by any standard. The quality of the performance was made all the more noteworthy given the circumstances surrounding the production. With their usual home, The White Memorial Theatre, closed for renovations, Bellvue Academy were required to reimagine their staging within the confines of a school hall. They rose to that challenge and then some. Through clever design, thoughtful use of space and a very clear vision, they transformed Gaelcholáiste Chéitinn into an atmospheric, theatrical space. Their talented creative team guided a cast of extraordinary ability, giving us a production of the highest quality. It was testament to what can be achieved when talent meets expert guidance.

Before the show began, there was a palpable sense of occasion. A warm and genuine welcome front of house set the tone for the evening, with friendly volunteers ensuring everything ran smoothly and efficiently. It was a pleasure to meet members of the organising team and to hear about the group’s journey to date, as well as the challenges they had navigated in relocating from their usual home in The White Memorial Theatre, which was closed for renovations. That sense of pride and positivity was reflected in a wonderful buzz among the audience, creating a warm atmosphere of anticipation ahead of the performance.

Lisa Kelly’s direction was excellent throughout. ‘Hadestown’ can present narrative challenges but Ms. Kelly guided her cast with impressive assurance. There was exceptional clarity throughout, with each moment carefully shaped and every element of the story given the attention it required. Attention to detail was evident across all aspects of the production. This extended into the technical elements of the show, where it was clear that a significant amount of detailed preparation had taken place behind the scenes. The inclusion of a remarkable, fully functional revolve provided a wealth of staging opportunities. Similarly, the lift to Hadestown was another triumph, delivering some of the production’s key visual moments. The staging was both visually engaging and theatrically interesting. There was a strong sense of stagecraft evident among the cast at all times. There was a great understanding of space, focus and intention that is not easily achieved, particularly with younger performers. This does not happen by accident. It must be carefully instilled and it stood out as one of the Ms. Kelly’s most significant strengths as a director. Excellent work overall.

Musical direction, under the expert guidance of Niall Kelly, with Mary Rose McNally as chorus mistress, was of an exceptionally high standard throughout. It was a very musically assured interpretation of Anais Mitchell’s score. The band, thoughtfully integrated into the staging, became a visible part of the storytelling. Particularly noteworthy was the band’s handling of improv elements in the score, testament to both the skill of the musicians and Mr. Kelly’s leadership. The only minor musical issue arose during ‘Chant’, where the heavier, lower end accompaniment occasionally competed with the vocal lines. However, this was a small point in an otherwise superbly balanced and controlled musical performance. Choral work was a particular strength of the production. The ensemble was exceptionally strong, with excellent diction and control. The tricky, discordant harmonies at the top of ‘Chant (reprise)’ were executed with great precision, while ‘Road to Hell (reprise)’ and ‘We Raise Our Cups’ were other choral highlights. Perhaps the most musically impressive moment came from the three Fates, whose a cappella performance of ‘Nothing Changes’ was simply exceptional. Their blend, balance and control were superb. Excellent work from all involved.

Choreography, by Keith Dwyer Greene, was a standout element of the production, showcasing both creativity and a great understanding of the show’s style. Working with a highly capable and committed cast, he created movement that was visually engaging and always driving both character and story. ‘Livin’ It Up On Top’ was a highlight, combining free, character-driven movement with sharp, choreographed sequences to excellent effect. ‘Chant’ was particularly impressive. It was a powerful, highly theatrical sequence that captured the industrial identity of the workers. The choreography worked perfectly with the revolve, lighting and vocals to create a moment of incredible impact, both visually and dramatically. Another standout came in ‘Wait For Me’, where the integration of headtorches and large swinging fibreglass lights, lowered from above, created a striking visual spectacle. ‘Papers’ featured an intentionally brutal dance break in which Orpheus was set upon by the workers. There was a strong sense of discipline in the ensemble movement, with cast showing excellent commitment to the piece. 

In the leading role of Orpheus, eighteen-year-old Jake Whybrow gave a truly exceptional performance, capturing the character’s naive idealism and quiet determination. There was a sincerity and openness to his portrayal that drew us in from the start. Vocally, this was a performance of remarkable quality. Mr. Whybrow had a stunning, soaring tenor voice which could seamlessly move into a beautifully controlled falsetto when required. His vocal range was hugely impressive but it was his musicality and emotional connection that really set him apart. As an actor, Mr. Whybrow showed a level of maturity and understanding that was striking. There were moments that brought to mind a young Killian Donnelly, such was his instinctive timing and the quality of his performance. His work in more emotionally demanding scenes was especially strong. A truly outstanding performance, not simply impressive for an eighteen-year-old, but impressive by any standard. Jake Whybrow. Remember the name.

Zara O’Mahoney delivered an excellent performance as Eurydice, bringing impressive vocals and emotional depth to the role. From the outset, we knew that Eurydice had experienced hardship and Ms. O’Mahoney gave us a very real character who was focused on survival, providing a strong contrast to Orpheus’ idealism. Vocally, she had a most beautiful and expressive tone, using it with great sensitivity throughout. ‘Any Way the Wind Blows’, Eurydice’s reflection of challenging lifestyle, was beautifully delivered, immediately establishing her character and the atmosphere. Ms. O’Mahoney had excellent onstage chemistry with Mr. Whybrow and the relationship between the two characters felt genuinely authentic. A thoughtful and intelligent performer, she brought nuance and clarity to the role, delivering a performance of real quality. 

Keenan Scully gave a highly polished performance as Hermes, with confidence, charisma and a strong understanding of the narrative. From his first appearance, standing in silence for what felt like an extended moment before addressing the audience, he showed an exceptional level of stage presence and composure. Mr. Scully was a natural storyteller, guiding us through the story with clarity and warmth. Vocally, Mr. Scully was strong, with an impressive range. His musical performance and onstage confidence, made Hermes not just a narrator, but a real presence in his own right. His beautifully judged emotional response at the end of the show was understated but deeply moving; a moment of real authenticity and sensitivity. 

Nathan Dalton delivered a stunning performance as Hades, one that displayed a level of maturity and control far beyond his years. He commanded the stage with authority, impressively embodying the imposing and enigmatic ruler of the underworld. Vocally, this was a truly exceptional performance. Mr. Dalton had a richly resonant bass voice with remarkable depth and quality. ‘Hey Little Songbird’ was a standout moment, his lower register delivered with ease, control and a beautiful tone that was both powerful and hypnotic. Equally impressive was his work in ‘Why We Build the Wall’, where he demonstrated a surprising and highly effective upper register, moving from bass into tenor with remarkable ease and musicality. Mr. Dalton brought exceptional stage presence to the role. He understood the weight of the character and carried it with confidence. His understanding of the text was clear throughout and there was always great intelligence and awareness to his portrayal. 

Seventeen-year-old Faye Flavin was a very strong Persephone, bringing charisma and a strong sense of theatrical flair to the role. She had excellent stage presence and was a superb mover. Vocally, she was equally impressive, with a powerful and characterful voice that suited the musical style beautifully. Her performance of ‘Our Lady of the Underground’ was a standout moment, thanks to Ms. Flavin’s energy, confidence and a playful cabaret flair. Her duet with Hades, ‘How Long?’, revealed a more emotional side to the character. The connection between the two performers was strong, and Ms. Flavin played the scene with great confidence and sensitivity. She had a very clear understanding of the narrative throughout. Overall, this was a charismatic and confident portrayal and one that really belied Ms. Flavin’s years.

The Greek chorus of Fates was brought to life with exceptional skill by the very talented trio of Aoibheann Kennedy, Doireann Scully and Millie O’Sullivan. Together, they delivered a remarkable performance, combining a strong collective presence with precisely synchronised movement and beautifully controlled vocal harmonies. Their blend of voices was particularly impressive, creating a sound that was rich and finely balanced in songs such as ‘Any Way the Wind Blows’, where their wonderful musicality added so much atmosphere to the piece. There were brief moments where the natural strength of individual performers momentarily drew focus from the collective, though this was a testament to the calibre of talent on stage and was quickly reabsorbed into an otherwise excellent ensemble blend. However, it was in ‘Nothing Changes’ that they truly excelled. Their a cappella singing in this number was simply outstanding, with a blend and balance that was nothing short of exquisite. 

The ensemble was a significant strength of the production, demonstrating excellent focus, commitment and a clear understanding of their role within the narrative. Vocally, they were consistently strong, while their movement work was equally impressive. It was clear that everyone on stage was fully invested in the production team’s vision. The movement of chairs and other furniture was carried out with precision and fluidity, allowing transitions to flow seamlessly and keeping the momentum of the show throughout. Musically, there were many standout moments. ‘If It’s True’ had an exceptional choral sound and ‘Wait For Me (reprise)’ was wonderfully expressive and beautifully balanced. The beautifully judged stillness during ‘Promises’ was particularly effective, with subtle reactions and a quiet observation that was perfectly appropriate. In contrast, their portrayal of the workers in ‘Chant’ was powerful and precise, with tightly controlled movement that reinforced the intensity of the number. 

Stage management, led by Claire O’Hara, was of a very high standard, providing a strong backbone to this technically ambitious production. Much of the crew’s work was, by its nature, invisible to an audience, but its impact was evident throughout in the smooth and efficient running of the performance. The management of the revolve was a significant technical achievement, requiring careful timing and coordination to ensure both safety and fluidity in performance. Similarly, the operation of the lift to Hadestown was very well timed. In the absence of flying facilities, the team not only found a way to lower the large lamps for ‘Wait For Me’ but also managed to adjust them in real time, contributing to one of the production’s most visually striking sequences. With a large cast navigating what was a challenging backstage environment, Ms. O’Hara and her team ensured that everything flowed smoothly. 

Set design was minimalist. The worn look to the proscenium frame and the inclusion of the large red carnation as a focal point was very effective. The upstage balcony provided strong staging opportunities, as did the stage left apron and steps which were used to good effect throughout. Placing the musicians on raised platforms left and right framed the action beautifully. The inclusion of a fully functional revolve was a standout feature. Its successful incorporation was both ambitious and highly effective. Equally impressive was the lift to Hadestown, which provided a highly theatrical means of transitioning between worlds. This was a bold technical choice that paid off brilliantly. The use of large fibreglass lamps in ‘Wait For Me’, was another inspired design choice. Overall, this was a very successful set with a highly ambitious vision, which transformed a school hall into a very impressive theatrical space.

Lighting design and operation were exceptional, playing a central role in the success of the production. In ‘Hadestown: Teen Edition’, where atmosphere and mood are so important, lighting is an essential storytelling tool. The precision of cueing in response to the score was superb, with transitions and effects landing with great accuracy. The strong backlighting during the dance break in ‘All I’ve Ever Known’ created a striking visual picture, while ‘Chant’ was brilliantly theatrical, with dramatic beams slicing through smoke and haze to evoke the oppressive, industrial environment of Hadestown. ‘Wait For Me’ was a particular highlight from a lighting perspective, with swirling moving lights working in perfect harmony with the industrialised choreography, headtorches and swinging lamps to create a sequence of real scale and impact. One of the most memorable moments came in ‘Doubt Comes In’, where a striking ‘wall’ of light and smoke was created upstage, allowing Eurydice to appear almost magically before dissolving once more into the background. It was a beautifully realised effect, both technically and theatrically. The timing of the pivotal moment as Orpheus turned to look at Eurydice, one of the most dramatic moments in the show, was executed to perfection, demonstrating a deep understanding of both the music and the narrative. 

Sound design and operation were of an exceptionally high standard, with clarity, balance and sensitivity throughout. There was an excellent blend within the band, with instruments carefully balanced and subtly brought forward for solo moments, allowing key musical lines to shine. Vocal balance was equally impressive. The ensemble numbers were well mixed, with a strong choral sound that was clear and well-supported at all times. Particular credit must go to the handling of the three Fates, whose intricate harmonies were beautifully balanced at all times, especially during their a capella section of ‘Nothing Changes’. Overall, this was excellent work from the sound department which supported the musical and dramatic requirements of the production in a highly professional manner throughout.

There was excellent work from the props department in creating the symbolic world of ‘Hadestown’. In a piece where objects often carry as much meaning as the text itself, props were handled with great care, contributing greatly to the overall visual of the production. The musical instruments and lamps associated with the Fates symbolised their roles as both narrators and manipulators of destiny. The iconic red carnation, so synonymous with ‘Hadestown’, evoked the themes of romance, longing and hope. Persephone’s distinctive round hip flask felt entirely authentic, while Orpheus’ guitar was appropriately worn, reflecting his lifestyle. These kinds of small details added so much to the production. Head torches, seamlessly worked into the workers’ choreography, were an inspired touch. 

Costumes were a key contributor to the overall look of the production, helping to define character and status very clearly. The Fates were particularly well costumed. Their greyscale costumes created the required uniformity and, along with carefully chosen accessories and headpieces, gave them an otherworldly quality that suited their roles perfectly. Orpheus looked very well with his simple shirt, braces and red bandana reflecting both his innocence and his connection to music and storytelling. Hermes’ look was equally effective, with a stylish waistcoat and tailored look that gave him authority and a touch of showmanship. In contrast, Hades was an imposing figure. His darker costume, complete with long leather coat and sharp pinstripe suit, reflected his status and power very effectively. Persephone provided a welcome burst of colour in her stunning green dress reflecting her connection to the natural world and giving a nice contrast to the darker tones of Hadestown. The workers were costumed with dungarees, muted tones and goggles, creating a believable sense of overworked labourers. 

Hair and makeup were well handled, with good attention to detail in evidence throughout. Hermes’ slightly greyed hair added a sense of age and wisdom to his role as narrator, while Hades’ perfectly slicked hairstyle gave him an authoritative presence. Orpheus’ bloodied appearance following ‘Papers’ was particularly well realised. It looked very natural and was a small but important detail. The Fates were especially striking, with their bold lip colour and eye makeup giving them a very distinctive look. Overall, nothing appeared out of place, and the overall standard was very polished. 

This was an exceptional production of ‘Hadestown: Teen Edition’, demonstrating the wonderful talent of its young cast, the power of expert guidance and outstanding commitment from all. What Bellvue Academy achieved in Gaelcholáiste Chéitinn was quite special. They approached this new venue with confidence, transforming the school hall into a very impressive theatrical space. Across all departments, the quality was consistently high. It might be easy to attribute the success of this production to the availability of ‘Hadestown: Teen Edition’ to youth groups. However, such a view overlooks the reality of what was achieved here. Access to material is only a starting point. It is the work, the discipline and the talent of those involved that bring it to life. This production succeeded not because of opportunity alone, but because of the extraordinary standard to which that opportunity was realised. Opportunity may open the door but talent is what walks through it. Perhaps most encouraging of all is what this production represents for the future. If this is the level of work being produced by Bellvue Academy and its young performers, then the future of musical theatre is in exceptionally safe hands. It was theatre of the highest quality. A truly memorable production.

Pat McElwain

Sullivan Adjudicator 2025/2026

Photos by Cathy Murphy.