Disney's Hercules, now playing at Theatre Royal Drury Lane, arrives on the West End with the promise of divine spectacle, but sadly, it falls short of heroic. Despite a catchy opening number and a vocally impressive cast, this stage adaptation struggles to capture the heart and humour that made the 1997 animated film a cult classic.
Directed by Casey Nicholaw, a Broadway heavyweight known for The Book of Mormon and Aladdin, the production is visually ambitious but tonally confused. What begins with a bang—thanks to the powerhouse Muses—soon spirals into a chaotic mix of pantomime camp, half-hearted heroics, and underwhelming storytelling. It feels less like a West End-calibre musical and more like a production rushing to capitalise on brand recognition.
The cast, to their credit, give it their all. Luke Brady as Hercules is lovable and delivers a confident vocal performance, while Mae Ann Jorolan's Meg brings sultry confidence and one of the few emotionally grounded performances of the evening. The Muses— Candace Furbert, Sharlene Hector, Brianna Ogunbawo, Malinda Parris, Robyn Rose‑Li—are, without question, the heart of this show. Their vocal blend is thrilling, their presence electric, and they alone come closest to channelling the soul of the original film.
But the creative liberties taken in adapting the film to the stage are baffling. Beloved songs like Go the Distance are strangely underpowered, missing the emotional climax they're meant to deliver. The new songs, with music by Alan Menken and lyrics by David Zippel, struggle to leave any lasting impression—forgettable at best, filler at worst.
The portrayal of Hades, played by Stephen Carlile, doesn't work. Gone is the sly, silver-tongued schemer of the film; in his place is a screeching caricature that lands somewhere between pantomime villain and comedy sketch gone wrong. It's not the actor's fault—Cox is clearly talented—but the writing gives him little to work with. The character lacks menace, gravitas, or wit, and his scenes often grind the pacing to a halt.
Set and costume design by Dane Laffrey and Gregg Barnes and Sky Switser, respectively, are also uneven. While the set manages moments of grandeur, particularly in the Underworld, the overall aesthetic feels muddled. The costumes fail to evoke Ancient Greece in any meaningful way; at times, they resemble a high-concept Halloween party with little cohesion.
The climactic battle against the Titans, a moment ripe for stage wizardry, instead devolves into a laughable sequence of floating heads and strobe lights, with Hercules barely engaging in heroics. Oddly, he never truly defeats a monster solo, and the emphasis shifts from inner growth to outer vanity—he's more interested in being "hot" than heroic. The emotional arc—that search for belonging—is diluted by distracting gags and superficial storytelling.
That said, younger audience members might enjoy the bright colours, slapstick humour, and familiar characters. But for longtime fans or adult theatre-goers hoping for a nuanced, faithful, or emotionally resonant adaptation, Hercules sadly does not go the distance.
A waste of a stellar cast and promising source material, this production feels more like a missed opportunity than a theatrical triumph.
It runs until 28 March. Tickets: here.