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
