Lavishly produced like a true more-is-more Disney dazzler, Hercules definitely goes the distance but would be far easier to follow if most of the actors were not trying to be louder than the scenery.

A somewhat lesser known entry in Disney’s animated 1990s musical canon, Hercules is nonetheless an enduring favourite amongst aficionados. The movie featured broad comedy, striking visual style influenced by Gerald Scarfe, and a post modern leading lady who was a far cry from the traditional demure Disney Princess mould. 

The stage version premiered outdoors in New York in summer 2019, returning post-lockdown to Papermill Playhouse, New Jersey in 2023. The musical is yet to play Broadway, but their loss is the West End’s gain, with Hercules filling Theatre Royal Drury Lane with capacity crowds and extending well into next year. 

Musical book writers Robert Horn and Kwame Kwei-Armah streamline the narrative into a slick 125 minutes (including interval). Already popular in the movie, the five gospel-style Muses take centre stage to tell the mythic tale, cheering on Hunkules Hercules as goes from “zero to hero in no time flat.”

Hades’ elfish minions Pain and Panic become dorky schlubs Bob and Charles. Trainer Phil is now all human and, anti-heroine Meg proudly retains her self-assured swagger. Given that Disney that has been-there-and-done-that with flying, Herc’s noble steed Pegasus is no more.

Meg earns some genuine laughs with her snarky wit but the majority of the show’s “humour” is like a series of lame dad jokes. 

Musical director Daniel Whitby leads a vibrant band of twelve musicians, the musical performance readily matching the stage sparkle. Alan Menken and David ZIppel nifty movie dogs are boosted by worthy new additions, particularly Hercules’ heartfeltballads “Today’s Gonna Be My Day” and “To Be Human.” 

Key to the musical’s overall success is the reliably inspired direction and choreography of Broadway virtuoso Casey Nicholaw. The only odd choice is the high volume delivery of too many characters; it makes sense for the Muses to belt but trainer Will and villain Hades shout their lines to the degree that it is hard to tune into what they are saying or singing. 

Highlights of Nicholaw’s choreography, co-created with Tanisha Scott, include a nifty company tap number in “Getting Even” and a Zorba-like kick line in act two opener “A Muse Bouche.”

As usual with Nicholaw, it’s not just the performers but also the scenic design (Dane Laffrey), video design (George Reeve), and lighting design (Jeff Croiter) that dance into place through the show. An enormous rear wall and side tabs sport ever fluid LCD imagery while four giant pairs of plaster columns rotate and glide about the stage. Giant monster puppets provide worthy opponents for Hercules and a special effect that reveals Herc’s parents Zeus and Hera inside two giant statues is a beauty. 

Costume designer Gregg Barnes adds significantly to the stage spectacle. The Muses, in particular, sport a different glamorous look for their every stage appearance, even changing dresses before our eyes in their first scene. Hercules’ mesh singlet, also revealed in a magical on-stage change, makes his Greek God status very clear. 

Luke Brady is a crisply charismatic leading man, singing and dancing the massive role with effortless ease. Best of all, Brady is the one performer to project a gentle presence, allowing the audience to be drawn to him and the sweetly goofy Joey Tribbiani persona he gives Hercules. 

Mae Ann Jorolan expertly leans into Meg’s self-assured style, deftly underpinning the character’s confident bravado with a simmering affection for he-manHercules. 

Trevor Dion Nicholas exudes ample warmth and personality as Hercules’ champion and best friend, Genie Phil. Perhaps part of the reason it is difficult to understand Stephen Carlile as the insidious Hades is because his mouth is always full from chewing the scenery.

The glorious Muses are a joy to behold, rightfully earning their audience adoration. At this performance the Muses were brought to viivd life by Marie Finlayson, Sharlene Hector, Brianna Ogunbawo, Kimmy Edwards, and Robyn Rose-Li. 

A crowd-pleasing extravaganza, Hercules is guilty pleasure, feel-good fun at its most decadent. 

Hercules was reviewed 7.30pm Monday 17 November 2025 where it plays at Theatre Royal Drury Lane, London. For tickets, click here. 

Photos: Johan Persson

Watch a clip of Luke Brady singing “Go the Distance” from Disney’s Hercules in London’s West End: