REVIEW - HERCULES THE MUSICAL | THEATRE ROYAL DRURY LANE | 26/06/2025

Hercules The Musical at Theatre Royal Drury Lane – A Bold and Bombastic Retelling That Doesn’t Quite Go the Distance

Disney is no stranger to the West End, and Hercules The Musical marks the latest animated classic to get the full stage treatment. This new live adaptation of the beloved 1997 film comes from a powerhouse creative team, with direction and choreography by Casey Nicholaw (The Book of Mormon, Aladdin), a book by Robert Horn and Kwame Kwei-Armah, and music and lyrics by Alan Menken and David Zippel.

The original movie, while not the biggest box office hit of its time, has since gained cult status thanks to its sharp humour, gospel-inspired soundtrack, and memorable characters. With such a devoted fanbase, expectations for the musical were high – especially given the success of other Disney stage adaptations. Now playing at the grand Theatre Royal Drury Lane, Hercules The Musical is here to prove whether this hero’s journey can go the distance on stage.

At its heart, Hercules The Musical is a coming-of-age hero’s journey. We begin on Mount Olympus, where the gods celebrate the birth of Hercules, son of Zeus and Hera. But Hades, Hercules’ scheming uncle, hatches a plan to overthrow the gods. He strips the baby of his immortality and casts him to Earth, hoping to erase him from existence altogether.

 Instead of being adopted by Amphitryon and Alcmene like in the original film, Hercules is raised by a single mother named Despina, and grows up feeling out of place in the mortal world. When he learns of his godly origins, he sets off on a quest to earn back his place on Mount Olympus. But it’s not enough to be strong or famous — to become a god again, Hercules must do something no god has ever done before: commit a true act of self-sacrifice.

His journey takes him from awkward young outsider to local celebrity, helped along by Phil, now reimagined not as a grumpy goat-legged satyr, but as a human bar owner in Thebes, running Medusa’s pub and reluctantly coaching Hercules back into heroic shape. Along the way, Hercules meets Meg, a fiercely independent and quick-witted woman who has no time for rescuers. Their relationship builds the show’s emotional core, with a standout duet that cleverly flips the damsel-in-distress trope on its head.

But some of the film’s most beloved mythical elements are conspicuously absent. Pegasus, Hercules’ loyal flying steed, is nowhere to be seen and his absence is deeply felt. A Pegasus flight across the stage could have been the show’s “wow” moment, the kind of theatrical spectacle that defines great Disney musicals. Instead, the production relies on more grounded visuals and impressive, though earthbound, staging.

The film’s shape-shifting sidekicks Pain and Panic are now Bob and Charles – human henchmen who deliver laughs but lack the anarchic charm of their animated counterparts. The titanic final battle from the film is also missing; the fearsome Titans are gone, replaced by a showdown between Hercules and a visually impressive, larger-than-life puppet version of Hades—though the scene lacks the clarity and scale of the film’s Titan battle.

What we’re left with is a version of Hercules that still delivers plenty of fun, but feels scaled down in mythological ambition. Many of the creatures, monsters, and magical flourishes that made the original film so beloved have been written out, in favour of a more human-centred, community-focused approach. It works well in places – especially in the more comedic or character-driven moments – but fans of the animated original may find themselves missing the larger-than-life mythical magic.

Visually, Hercules is a feast for the eyes. Dane Laffrey’s set design evokes a stylised vision of Ancient Greece, with towering Doric columns, shifting platforms and gold-accented backdrops that give the stage a grand, cinematic feel. George Reeve’s video projections and Jeff Croiter’s vibrant lighting design work together to keep the action dynamic and fluid from scene to scene. Some moments, like the battle with the many-headed Hydra and the vortex of souls in the Underworld, are cleverly imagined. But one of the most jaw-dropping effects comes when the statues of Zeus and Hera appear to come to life—I honestly don’t know how they did it, but the effect was pure theatrical magic.

Jennifer Dingwall’s puppetry brings extra spectacle to the show’s more fantastical elements, and the costumes by Gregg Barnes and Sky Switser are a constant delight. The Muses, in particular, shimmer in a series of glamorous, ever-changing gowns that dazzle under the lights.

Musically, the show balances nostalgia and freshness with ease. Fan-favourite numbers from the original film—“Zero to Hero,” “Go the Distance” and “I Won’t Say (I’m In Love)”—are all crowd-pleasers, while the new songs add punch and pace to the story. The music is energetic and enjoyable, even if it lacks a true showstopping moment or a lasting earworm. Still, with a powerful orchestra under Daniel Whitby’s direction, it sounds fantastic throughout.

Luke Brady makes for a charismatic Hercules, embodying both charm and cluelessness with an easy smile and a strong vocal performance. He shines especially in his solo “Go the Distance,” delivering it with heartfelt conviction. Mae Ann Jorolan’s Meg is feisty, independent, and blessed with powerhouse vocals. Her duet with Hercules, “Forget About It,” is one of the new musical’s strongest additions.

Trevor Dion Nicholas brings presence and warmth to the humanised Phil. While it’s a shame that Phil is no longer a satyr, Nicholas makes the most of the material he’s given and provides a strong anchor for the story’s heart.

Stephen Carlile plays Hades with a sarcastic sneer, leaning more into upper-class villainy than the manic energy fans of the film might expect. He’s joined by Gallivan and Zarrett’s Bob and Charles, who channel a kind of “Laurel and Hardy” slapstick that works well for the younger audience.

But it’s the Muses—Candace Furbert, Sharlene Hector, Brianna Ogunbawo, Malinda Parris, and Robyn Rose-Li—who steal the show. Their gospel-infused narration, constant costume changes, and commanding vocals elevate every scene they’re in. From “The Gospel Truth” to “A Star is Born,” they’re the soul of the show and a complete joy to watch.

Hercules The Musical is a glittering, high-energy romp through myth and music that’s bursting with humour, heart, and gospel sass. The cast pour everything into their performances, the choreography is electric, and the Muses absolutely steal the show with their powerhouse vocals and divine stage presence. Families, fans of the film, and younger audiences in particular will find plenty to enjoy.

However, in its quest to modernise the myth and appeal to everyone, the show loses some of the magic that made the original film so iconic. With the mythical creatures largely written out—no Pegasus, no Titans, and a much less menacing Hades—it’s hard not to miss the sense of scale and spectacle we’ve come to expect from Disney’s stage offerings. There’s no singular jaw-dropping theatrical moment like Aladdin’s flying carpet or Frozen’s icy transformation, and at times, the tone leans a little too heavily into pantomime.

Still, despite not quite reaching god-tier greatness, there’s enough heroism, humour and heart here to make Hercules worth the quest. It may not go down in theatrical legend, but it’s a fun, feel-good night out that hits plenty of heroic notes—and will definitely leave audiences shouting “Bless my soul, Herc was on a roll!”

"It may not be a god-tier musical, but there’s enough heroism, humour and heart here to make Hercules worth the quest."

If you’d like more information about the show or to book tickets, simply click the button below to visit the official website.

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Photo Credit - Johan Persson