Hercules Review (Theatre Royal Drury Lane, London)

16 July 2025 I 19:30 I Theatre Royal Drury Lane, London

⭐⭐⭐⭐

As Hercules muscles its way onto the West End, Disney's beloved mythological tale of superhuman ability isn't the easiest to take to the stage. Following Frozen's successful (albeit pedestrian) theatre adaptation, Hercules comes with incredible risk. However, with risk comes high reward, as Casey Nicholaw directs a production that begins clumsily, gaining in strength to become a true powerhouse of entertainment.

Stylistically, establishing the scene and character introductions aren't overly cohesive. Following a magnificent storybook opening from video designer George Reeve, the curtain rises on Mount Olympus. Fronted by Sky Switser and Gregg Barnes' golden costume designs, these must be aesthetically careful of appearing cheap and functional in the challenge of depicting gods. An unmemorable first song is the show's weakest moment, only building until a legendary Act 2 to rival anything that has hit the Drury Lane stage.

The biggest signal of a well-perceived show is its audience, and I have never known a reception like this. Every time the Muses enter the stage, there are eruptions of applause, which in a 2,200 seat venue creates a remarkable, almost concert-like sound. You really don't see that often in the West End, and it is truly special for the five immensely talented actresses that dominate and elevate this adaptation. From Malinda Paris' mind-blowing riffs to Sharlene Hector's eternal charisma, this quintet are heaven-sent, carrying us through the story with angelic harmonies.

Luke Brady holds every quality for the perfect leading man, shining in humble brilliance to gift Hercules a boyish magnetism. Go The Distance is delivered with such silky and rich cadence, you cannot help but adore his portrayal. Starring opposite Mae Ann Jorolan, her easy confidence as Meg really balances Brady's happy-go-lucky energy. Subverting the damsel-in-distress trope, seeing such a strong female figure is excellent for younger audiences.

Following a highly energetic curtain call, my conversation immediately turns to the showstopping fight sequences, led by movement coordinator Joshua Buscher. With monstrously wicked puppet designs (James Ortiz), mythological beasts from Hydra to Minotaurs create a menacing power, well-considered to get the heart racing even for adults, and visually memorable for years following.

Largely impeccable due to their visual scale, puppetry can begin to foreshadow Hades' evil, characterised as a grey haired gentleman stripped of his iconic blue flames. Stephen Carlile performs the role to great ability, albeit directed in a pantomime-esque entrance to make the villain more child-friendly. Nevertheless, his hysterically devious nature is sublime into the musical's later half, truly a marvel to see his insanity unfurl.

Earlier mentioning Alan Menken's less memorable score, his music remains strong in the moment, finding a stage highlight in Trevor Dion Nicholas' I'm Back! to showcase a terrific ensemble. Adhering to myth-lent Grecian stereotypes, it can be proven that Hercules is nothing short of an epic staging. Negative critical responses condition us to perceive a show in such a way. But when you take it for the family extravaganza it sets out to be, you have a delightful new addition to the West End that is worthy of a return visit!