HERCULES

Theatre Royal Drury Lane

★★★½

“entertaining, occasionally dazzling, yet frustratingly uneven”

Disney’s Hercules launches onto the West End stage in splashy, scattershot style that embraces camp and colour, but can’t quite decide who it’s playing to. With a book by Kwame Kwei-Armah, recently departed Artistic Director of the Young Vic, and Robert Horn, expectations were high for the stage adaptation of Disney’s 1997 animated film. However, perhaps through limited fault of Kwei-Armah, who it seems merely adapted the book from a 2019 Off-Broadway version by Kristoffer Diaz, we get something that leans more towards panto – jokes often too juvenile for adults, yet strangely pitched above younger children.

Tonally, it’s a mixed bag throughout. Some of the new songs fail to land, despite being written by the original duo of Alan Menken (Music) and David Zippel (Lyrics). Hercules’ introductory number Today’s Gonna Be My Day, feels more like a filler from Dick Whittington than a compelling character launch, particularly in the staging, with a plethora of dancers filling the market, ducking and diving to avoid Herc’s slapstick clumsiness. Yet redemption comes swiftly with Go the Distance, delivered by Luke Brady with gravitas and control, even if the new vocal arrangement takes a little adjusting to for die-hard fans.

The costumes and puppetry are visually dazzling – though the latter is perhaps less effectual than Disney’s longest running theatrical hit The Lion King. The gods shimmer in outrageous gold, Hades’ cape swishes with villainous flair, and the muses – a consistent highlight – sparkle in their many gorgeous gowns with elegance and verve. Wig and hair designer Mia M Neal deserves special mention: her sculptural braids-turned-hats are a feat of fabulous imagination. The muse’s gospel numbers, harmonically tight and delivered with electric charm by Sharlene Hector, Brianna Ogunbawo, Malinda Parris and Robyn Rose-Li, are the show’s undisputed high points.

At its best, the set is magnetic – keeping you guessing with how seemingly magical effects are delivered. To represent the souls trapped in the underworld for eternity, gauze drapes swirl heavenward, then collapse back down, creating a hypnotic rhythm that’s almost balletic. Meanwhile, the rest of Hades’ underworld has a steampunk vibe, complete with minions and an inexplicable tap number (Getting Even) that adds nothing but confusion.

Despite the tonal inconsistencies, the cast commits entirely. Mae Ann Jorolan’s Megara is a standout – smoky-voiced, sardonic, and emotionally resonant. Her interpretation of I Won’t Say (I’m in Love) with the muses is every bit as affecting as fans would hope. And in one of the more successful additions, Forget About It, a flirtatious first encounter between Meg and Herc, brings welcome depth to their dynamic, balancing her independence against his oblivious infatuation.

Ultimately, Hercules the Musical is entertaining, occasionally dazzling, yet frustratingly uneven. Casey Nicholaw’s direction keeps the show visually fluid, if not always tonally consistent. It’s at its best when it is faithful to the original film and lets the muses lead the charge. If the creative team can tone down some of the more broad humour, there’s a sharper, smarter version of this show waiting to be revealed.

HERCULES

Theatre Royal Drury Lane

Reviewed on 25th June 2025

by Amber Woodward

Photography by Johan Persson © Disney

Previously reviewed at this venue:

INCARNATION | ★★★★ | October 2024

PIPPIN IN CONCERT | ★★★★★ | April 2024

YOUR LIE IN APRIL | ★★★★ | April 2024

WILD ABOUT YOU – A NEW MUSICAL IN CONCERT | ★★★ | March 2024

HANDEL’S MESSIAH: THE LIVE EXPERIENCE | ★★★ | December 2022

HERCULES

★★★

“a fun-filled show, packed with bubbly pop numbers and heartfelt performances.”

The net is wide for source material for musicals so an adaptation of a hit manga turned anime feels like a ripe opportunity both for visual delights, and for ticket sales to an existing fan base.

The story is simple and sweet. It follows high schooler Kōsei’s (Zheng Xi Yong) struggle to recapture his musical ability after the loss of his mother. He is helped by his best friend, tomboy Tsubaki (Rachel Clare Chan) and by a mysterious new girl, Kaori (Mia Kobayashi) who is passionate about showing him the power of his talent.

Some aspects of the story’s translation to stage work beautifully – it is a story with music at its core. The show works well to weave in classical pieces, balancing them with Frank Wildhorn’s catchy and fun numbers. Zheng impressively plays a piano which remains ever present on stage. It is a love story of musicians, and a love letter to music.

Adaptation is a battle between what to leave in and what to cut. Rinne B Groff, who wrote the English language book, has made some surprising choices. A number about bike riding comes a bit out it nowhere – though the choreography by director and choreographer Nick Winston shines particularly in this scene. In a relatively short musical, there is less chance to develop story so each scene really counts. The plot unravels slowly, then all at once.

The tangled teenage triangles, united by the power of music are brought to life by Zheng’s believable anguish, Kobayashi’s mesmerising breathy vocals, Chan’s cartoonish enthusiasm and Dean John Wilson’s excellent comic timing. Lucy Park does a surprisingly moving turn as Kōsei’s mother, it’s almost a walk on part but she brings true emotion to it. Theo Oh is adorable, one of three alternating young Kōseis who make the audience audibly coo. Ernest Stroud and Erika Posadas are quiet scene stealers as resentful lesser piano competitors. And Chris Fung smashes the funniest moment in the show.

Playful nods to the manga shimmer (thanks to Rory Beaton’s lighting design) across Japanese screens which surround the set (Justin Williams). A cherry tree and a piano mark opposite ends of the stage. Between that and carved wooden steps, the set anchors the play with a much-needed sense of place. Without it, the show might feel eerily devoid of setting. There is a clean-cut all Americanness to Groff’s dialogue and Miller & Green’s lyrics which make the already contrived situations feel at times laughably silly. This silliness is not helped by everyone being in school uniform (designed beautifully by Kimie Nakano).

For 2024 a show where female characters prop up the main male story, at times risking their own health and wellbeing, does feel a little dated. There’s also a predictability to it, which alienates the drama a little.

However, for a younger audience or fans of this particular genre, this could be a smash hit. The teenager beside me, a fan of the anime, was enraptured to see his favourite characters on stage. Despite a little cheesiness, this is a fun-filled show, packed with bubbly pop numbers and heartfelt performances.

Tag Archives: Adam Fisher

HERCULES

★★★½

Theatre Royal Drury Lane

HERCULES

Theatre Royal Drury Lane

★★★½

“entertaining, occasionally dazzling, yet frustratingly uneven”