Hadestown

"Mr. Page, rocking a Leon Redbone look and rumble, makes an electrifyingly maleficent Hades."

"The magnetic stars, however, are Persephone and Hades. The imposing Page comes on like a malevolent preacher sharing the gospel of greed — a dapper, silver-haired figure in bespoke pinstripes, cool shades and python boots, intoning Hades’ songs in a basso profondo rumble that recalls Leonard Cohen."

"The human thundersheet Patrick Page plays Hades as the boss of all bosses, a tycoon with “walls to build” and “riots to quell,” and his subterranean bass is enough to send you into riots of your own every time he opens his mouth. It feels like some kind of natural phenomenon, sending tiny cracks through the theater walls and as Persephone Gray is more than a match for it. Her conflicted chemistry with Page — the rekindling of love between two angry gods — is the real emotional heart of the show."

"The whole cast is on point. Patrick Page reprises his low-baritone Hades, a wicked ruler with a microscopic but still-existent heart and a brick-patterned wall tattoo on his forearm that may become a fashion trend for the MAGA set."

"The show is also blessed with memorable performances, especially Patrick Page and Amber Gray."

"Page, in unfettered, macabre form, gets to sing the most ear-jerking song, 'Why Do We Build the Wall?' The number roars off the stage of the Walter Kerr Theatre with a political ferocity that has not been matched on Broadway in a good long while."

"Page, the elder statesman in this group, lays the dark foundation as king of the underworld, his basso voice dropping to gravelly depths as he surveys his captors and eyes potential recruits."

"The cast is rich with charismatic worthies. Fitting for the god of the underworld, Patrick Page’s basso profundo seems to issue from the lower basement."

"Here’s my advice: Go to hell. And by hell, of course, I mean Hadestown. This Hades is a drawling capitalist patriarch who keeps his minions loyal by giving them the minimum they need to survive. 'The enemy is poverty,' he sings to them in the chilling anthem that ends the first act. 'And the wall keeps out the enemy.' You’ll be singing it again in your head for days."

"This perfectly heavenly musical should stick around for a long while, but the real action happens in Hell. Here, Hades (Patrick Page, in imposing form and thunderous voice), the fearsome King of the Underworld, torments the souls of the damned by chaining them to an infernal machine that goes nowhere but must be kept in perpetual motion. In the seductive 'Hey, Little Songbird,' he spies the newly dead Eurydice and makes a move to claim her."

"Page’s Hades is a deep, bass-and-then-some-voiced baddie, who’s not so bad. Apparently he’s just forgotten how to love, and instead is enlisting the residents of Hadestown to build a wall “to keep us free,” as the song goes. Despite the sharp resonance with President Trump’s desired barrier, this was written long before that particular campaign pledge."

"Patrick Page and Amber Gray set the house on fire as Orpheus and Persephone. Their song “How Long?” and the dance that went with it had me melting in my second row seat when I saw both of them crying. Be still my heart."

"Hades (the great Patrick Page, in a slick pinstripe suit with a booming basso profundo) did not abduct Persephone, as he does in ancient myth; he wooed her, he made promises."

"Hadestown wouldn’t be quite as splendid if it were not for the parallel love story of Hades and Persephone in large measure because of the performers who portray them, Patrick Page and Amber Gray. They are the two who’ve been with the show since Off-Broadway, and no wonder: They are beyond extraordinary."

"Mr. Page plumbs depths of bass tones I have never heard on stage. Breathtaking and exquisitely crafted, “Hadestown” is easily the most tautly constructed and beautifully realized musical on this side of “Hamilton”—a riveting, heart-wrenching, and sumptuous folk opera that vibrantly renders some of mankind’s oldest and most enduring myths as an epic and compelling piece of modern musical theatre. This musical triumph is a must-see."

"Patrick Page and Amber Gray — who have been part of the show since its 2016 production at the New York Theatre Workshop — are easily the standouts of the cast. As Hades, Page stalks across the stage like a tiger, pitching his velvety bass so low that his voice seems to rumble up from the center of the Earth."

"Despite their rough patch, Hades and Persephone’s relationship seems worthwhile — their coupling makes them better individuals, and better gods (Gray and Page have been with the show since its world premiere, and both have emotionally resonant performances to show for it). The song “Why We Build the Wall” still produces chills–especially as performed by the magnificently malevolent Page."

"From Carney’s high, tender crooning to Gray’s playful rasp and flirtatiousness to Page’s deep, gravelly and borderline terrifying voice, every performer shone when they were supposed to. I found myself engrossed in every moment and emotional beat of the show, laughing one moment and on the verge of tears the next."

"Patrick Page and Amber Gray smolder as Hades, sleazy fat-cat ruler of the underworld, and Persephone, the boozy wife who tolerates his reprehensible behavior in order to enjoy his riches."

"The actors are incredible, the design and orchestrations impeccably shape the world of the piece, and the direction is sublime. Patrick Page’s Hades is a deep-bass, slow-walking, sexually predatory, double-breasted pinstripe suit-wearing millionaire super villain."

"The cast is superb. Patrick Page is spine chilling as Hades, especially when it comes to singing 'Why We Build the Wall.'"

"Patrick Page is perfectly smug and monstrous, his baritone like a hammer suppressing any dreams of freedom or individuality."

"Page reprises his off-Broadway role and, if anything, ramps up his already magnetic portrayal of Hades, who becomes a Gothic-industrial-punk overlord in the Broadway show. Page’s unbelievably deep voice sounds as if it truly is coming from the pit of hell."

"Having played these parts since 2006, both Gray and Page are a joy to watch, steady in their spaces, their relationship X-rayed with the arrival of Orpheus."