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The standout performance comes from Patrick Page who, as Hades, has a voice that seems to issue, appropriately, from the depths
It’s Page’s ability to appear both thunderous and sophisticated that’s remarkable. There’s satisfying spark in his relationship with Persephone.
Patrick Page’s bowel-quakingly low voice as Hades is practically a special effect.
The underworld is Hades’ kingdom and the Olivier stage is Patrick Page’s. His deep, melodious tones seduce Eurydice and the audience—-leaving them hanging on his every word.
In Patrick Page it has the actor with the deepest voice I have heard. Given that he plays Hades, king of the dead, it is only appropriate he has a larynx that creaks like a levered tombstone. Imagine a crocodile the morning after a cigar dinner.
It is easy to see, too, how Eurydice could be seduced by Hades. Page’s voice has such a deep bass that, at times, one could quite believe it originates from the pits of Hell, with vocal stylings reminiscent of Tom Waits and Leonard Cohen at his most mournfully tuneful.
-The Reviews Hub
Page looks suitably satanic and has the deepest bass voice heard on the London stage since Willard White, the Sisters of Mercy or Leonard Cohen’s last tour. His “Hey Little Songbird” is one of the evening’s highlights.
Page is a superb God of the Underworld who uses his strong and easy stage presence to emphasize the commanding and unforgiving nature of his character. With his pale snakeskin boots, there is something coldly reptilian about Hades as he stalks the stage demanding deference from anyone in his path, but Page retains a shred of humanity that makes his attachment to Persephone credible and allows the audience to think he could be reasoned with.
The god Hades is played by the American actor Patrick Page with a voice so deep that it scrapes the gravelly bottom of the underworld he rules. He’s got a black suit with silver pinstripes, some wicked boots and a tattoo of a brick wall encircling his arm. You really can’t help but warm to him— and it’s left to the really rather brilliant Page and his hard-drinking wife (a sultry Amber Gray) to bring this show to life.
Patrick Page is superb as Hades, his great, growling bass casting a spell on those around him, mixing ferocity and tenderness. “ Hey, Little Songbird”, when he seduces Eurydice with promises of a better life, is mesmerizing.
Amber Gray’s wonderfully wild Persephone perfectly partners Patrick Page’s slow, growling Hades, their tempestuous relationship completely believable.
Page’s seductive, smoky bass goes deeper than the bowels of hell.
-The Arts Desk
Credit must also go to Patrick Page – playing Hades in the spirit of Charles Foster Kane – for producing bass notes so fantastically low that at times he could be auditioning as the ‘Voice of the Mysterons’ in Captain Scarlet.
The cast are more than worthy of praise in their delivery, with a highlight being Noblezada’s stunning vocals and Page’s spine-chillingly deep growl.
-The Live Review Uk
Two wily older performers who are at the absolute height of their powers and manage to steal every scene. Andre de Shields in the narrator role of Hermes is an absolute joy to behold in his patterned suit and waistcoat, presiding over the proceedings with a wonderfully laconic and knowing air. Better still, perhaps, is Patrick Page, who invests Hades with a fearsome baritone voice and terrifying authority. Both Messrs de Shields and Page move every bit as impressively as they deliver their lines, which is just as well as the stage revolves almost continually and just one false move could have thrown David Neumann’s split-second choreography into total disarray. The two old actors also make it abundantly clear that they are having the time of their lives.
-The New European
Patrick Page, another huge US musical theatre star, in Matrix black leather overcoat, silvery pin stripe suit and snakeskin boots, sings in the lowest register I have ever heard, and is deliciously evil from start to finish.
Our core performers – Carney, Noblezada, Page, Gray and De Shields – take on the majority of these duties, crafting expertly conceived performances that blend the power of musical storytelling with sensitively characterised portrayals. Their performances are shaded with the confidence and poise, and they become robust emotional canvasses whom we can trust with sharing Mitchell’s story with us.
-On Stage Blog
We must give a special mention to the vocal prowess of Patrick Page as Hades, too – producing bass notes so low we felt they must actually resonate with the underworld.
Patrick Page is astonishing as Hades, a business mastermind who claims to afford his underlings freedom even as he shuts them inside his empire.
The topical significance, especially in the song Why We Build The Wall, won’t be lost on anyone, yet it’s Page’s ability to appear both thunderous and sophisticated that’s remarkable. There’s satisfying spark in his relationship with Persephone (a vivid Amber Gray).