⭐⭐⭐ (Three Stars)

When I heard that Disney’s Hercules was heading to the West End, I was intrigued to find out if Hercules' daring deeds are in fact great theatre (pronounced to rhyme with gladiator, naturally). Despite this stage adaptation of the 1997 Disney Renaissance Era classic delivering a fun, family-friendly night out, it ultimately struggles to match the nostalgic charm and wit of the original animated film.

Directed and choreographed by Casey Nicholaw, Hercules follows the story of the half-human son of Zeus who discovers his true identity and tries to earn a place on Mount Olympus among the gods. It’s a story with epic potential, but the production too often falls into the realm of pantomime rather than mythic grandeur.

Dane Laffrey’s set design offers an effective nod to Ancient Greece, with Grecian columns, rising platforms, and multiple large set pieces. However, the vastness of Theatre Royal Drury Lane’s playing space sometimes works against the production, with extended periods without set pieces leaving the stage looking sparse and underdressed. Gregg Barnes and Sky Switser’s costumes bring colour and flair, especially for the fabulous Muses, although the mesh tank top that Hercules wears for part of the first act is a confusing choice. I also wish they had managed to incorporate Hades’ iconic flame hair from the movie into the character’s costuming as this would have helped to elevate his generic villain look beyond the swooshing red cape he is given.

Hades himself, played by Stephen Carlile with sass rather than menace, doesn’t become genuinely intimidating until Act Two, thanks to puppetry designed by James Ortiz. Until then, he mostly delivers snide comments and quips that don’t do much to raise the stakes of the story. Similarly, the romantic plotline between Hercules (Luke Brady) and Meg (Mae Ann Jorolan) lacks development and chemistry, with their connection feeling rushed and underwritten.

The primary weakness of this production lies in the book by Robert Horn and Kwame Kwei-Armah. Jokes often land with a groan rather than a laugh, and scenes with Hades in particular feel too close to pantomime, undermining any real sense of threat. There are some adult-targeted nods in the script, but they don’t always blend smoothly with the show’s child-friendly tone. There are also a few disappointing choices for fans of the film, such as transforming Phil (Trevor Dion Nicholas) from a satyr into a human who works as a waiter at a Greek taverna and the omission of Pegasus, making the show feel significantly less magical than it has the potential of being. Similarly, there are some staging choices that inadvertently undermine Hercules’ legendary strength by allowing ensemble members to move the same supposedly incredibly heavy props as our leading man.

Musically, however, the show shines. Alan Menken’s score remains a highlight, and the cast delivers it excellently. The Muses (Candace Furbert, Sharlene Hector, Brianna Ogunbawo, Malinda Parris, and Robyn Rose-Li) are vocal powerhouses, providing most of the show’s highlight moments with their witty narration and infectious stage presence. Nicholaw’s choreography also keeps the energy high in musical numbers, from evil tap dancing to energetic cheerleading.

Ultimately, Hercules is a lively production with moments of spectacle and strong performances, but it struggles to find a consistent tone and fully realize the potential of its source material.

Hercules is currently booking at Theatre Royal Drury Lane until 28th March 2026.

Tickets are available here: https://ticketing.lwtheatres.co.uk/event/25722?date=2025-06