★★★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.

GUYS & DOLLS at the Bridge Theatre

★★★★★

“Hytner’s production is a thrilling experience full of surprises”

Guys & Dolls has been playing at the Bridge Theatre since March 2023 in Nicholas Hytner’s reimagined production which turns the 1950s Broadway musical into full-on immersive production. Its final cast change before its announced closure in January sees Gina Beck taking over as Sarah Brown, also joined by Michael Simkins as Arvide Abernathy. They join members of the previous cast include Owain Arthur, Timmika Ramsay and Jonathan Andrew Hume, as Nathan Detroit, Miss Adelaide and Nicely-Nicely Johnson, respectively.

If you’re not familiar with the story beyond the parody in The Simpsons, it follows Nathan Detroit’s illegal floating crap game, which he hides from financée of 14 years Miss Adelaide. When Detroit places a bet with gambler Sky Masterson that he must take a woman of Detroit’s choosing to Havana, Masterson (George Ioannides) has to try and impress leader of the Save-a-Soul mission, Sarah Brown. What follows is two side-by-side relationship stories alongside visits to the Hotbox nightclub where Adelaide performs.

Hytner’s production is a thrilling experience full of surprises. Half the audience are stood on and around Bunny Christie’s set which sees stage pieces rise and fall for scenes to be played on before the action quickly moves somewhere else. The work of the stage management team in this production is a feat in itself, as they usher audiences around the moving set pieces, bringing on street lamps, staircases, and even at one moment managing to catch the underwear thrown offstage by the Hotbox dancers.

Having seen the original cast, the newcomers have a lot to live up to, and they absolutely make this show and the roles their own. Ramsay is electric as Miss Adelaide. With expansive vocals, she tears the stage apart with “A Bushel and a Peck”, in a number which is sexy, playful, and shows off a star performance. She brings great comedy to “Adelaide’s Lament” and the rapport with co-star Arthur is sharp and fiery, particularly in their second act duet “Sue Me”, which plays the line between lust and frustration to perfection.

Gina Beck follows previous leading lady roles, including Glinda in Wicked and, more recently, Maria in Chichester’s production of The Sound of Music last year. She is very held together as Sarah Brown before letting her hair down and spinning around lamp posts in “If I Were a Bell”, thanks to Arlene Phillips and James Cousin’s choreography. Her voice has gorgeous, crystal-clear operatic tones. She plays against Ioannides, who also returns to the show, and their verision of “I’ve Never Been in Love Before” is a total delight. Likewise, Simkins’ rendition of “More I Cannot Wish You”, which he sings to Beck, has a real sense of warmth and wisdom which is very touching.

The best number of the show though is saved for Nicely-Nicely Johnson, and is perhaps the best known number “Sit Down, You’re Rockin’ the Boat”. Quite hilariously, the number serves very little plot purpose, other than being a distraction so the General doesn’t cotton on to schemes of the crap game players. Cedric Neal received an Olivier Award nomination for originating this role, so again big boots to fill. Hume is fantastic. His Nicely-Nicely is warm, engaging and a little bit cheeky and he looks like he’s having the absolute time of his life performing this number, which in turn lets the audience have a great time as well. The crowd cheer as he encourages the orchestra to give him an encore and the whole room gets involved clapping along.

If you’re going to revive a 70-year-old musical which is, let’s be honest, rather dated in its plot, then this is the way to do it. It never tries to say ‘this is now’ but instead unapologetically transports us to a different time altogether and gives us an evening of thorough entertainment.

Guys & Dolls plays at the Bridge until January so if you haven’t yet made it along to this 5-Star production make sure that you do. There’s nothing else quite like it!

Tag Archives: Saffi Needham

HERCULES

★★★ ½

Theatre Royal Drury Lane

HERCULES

Theatre Royal Drury Lane

★★★½

“entertaining, occasionally dazzling, yet frustratingly uneven”

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

HERCULES

HERCULES

GUYS & DOLLS

★★★★★

Bridge Theatre

GUYS & DOLLS at the Bridge Theatre

★★★★★

“Hytner’s production is a thrilling experience full of surprises”