★★★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.

INCARNATION at the Theatre Royal Drury Lane

★★★★

“Caruso is a meticulous performer; each step choreographed with a purpose”

“I remember that day like it was yesterday. I remember being tied up, being unable to speak. I remember how much I hurt trying to escape”.

Maria Caruso’s pre-recorded voice swoops above the stage while below, her lithe figure expresses the sentiment behind those words, alone on a vast stage. It is a moment of bravery that almost eclipses our appreciation of her unique choreography.

“I gave my soul and every ounce of energy to get away. And I was free. Free to become the person I am today… to let the past go and forget what happened. To find the light inside myself”

Although we never learn the detail – what happened to her? – her solo dance performance tells a powerful story. One that is personal to her but that we can interpret in whichever way we feel. The same was said of her previous show, Metamorphosis, of which Incarnation is, if not a sequel, an extension. Like the former, Caruso describes it as “an in-depth retelling of the intimate stories with no words”. Except that there are quite a lot of words in this show. Phrases litter the prologue to the performance as though torn out of a therapist’s thesaurus. We are invited to ‘see’ her story through ‘every fibre of her being’. There are definite moments when we feel we do not need really to be told this, but to let her movement, and Ryan Onestak’s evocative music score unfurl the narrative; along with our own imaginations.

“There is a powerful defiance that fuels the dance routines”

For it is visually quite stunning. It can be argued that Theatre Royal Drury Lane is too vast for this intimate piece, yet Caruso manages to fill the space with her personality. Simplicity is the key, with a minimal set reminiscent of the late Peter Brook’s ‘Empty Space’ school of thought. A lone clothes rail is a lonely backdrop, from which she plucks dresses that each represent a turning point in her life. Downstage, a writing desk is the only prop, at which she writes letters. In fact, the show is a love letter, a begging letter. She writes letters of intent, of pain, of revelation. To whom? A lover? A confidant? She waits for a reply forlornly. When it eventually arrives during the final moments, some of us might have seen its message coming.

But it is the journey that fascinates. Caruso is a meticulous performer; each step choreographed with a purpose. Her talents stretch beyond dance and there is something filmic about the show – the detail, facial expressions and small gestures speak as loudly as the body rolls and arches while her eye is firmly trained on the camera lens. It is a touch distracting and distancing, though, and at times we feel we are the studio audience for a future stream.

Innovative and emotive, we are left in no doubt that this is autobiographical. How much dramatic licence is used is open to question yet there is no denying the courageous honesty as Caruso figuratively and almost literally bares herself. Yet beyond the high-flown metaphors there is something calculated and controlled that belies the tortured soul that is being exorcised.

Nevertheless, we are uplifted. Something profound is taking place. Simultaneously hard to explain but simple in its truth. Caruso is a striking dancer and choreographer, image-maker, storyteller and thought-provoker. There is a powerful defiance that fuels the dance routines. Triumphant and optimistic, even if a touch over-dramatic and indulgent. Sometimes the emotion doesn’t ring true, and the suffering is at odds with the self-adulation; but we are more than willing to be drawn into the conceit. It is ultimately quite beautiful to watch.

Tag Archives: Theatre Royal Drury Lane

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

INCARNATION

★★★★

Theatre Royal Drury Lane

INCARNATION at the Theatre Royal Drury Lane

★★★★

“Caruso is a meticulous performer; each step choreographed with a purpose”

“There is a powerful defiance that fuels the dance routines”