Hercules ⭐️⭐️⭐️

Ancient Greece. A time of gods, mortals… and Hercules, who isn’t quite either. But if he can learn what it means to be a true hero, he might just find out where he belongs. Inspired by the beloved Disney animated film, Hercules delivers a wisecracking, column-shaking, underworld-rocking adventure packed with bigger-than-life songs, thrills and laughs.

📷 Johan Persson

Direction and choreography by Casey Nicholaw, co-choreographed by Tanisha Scott, are strong overall. The pacing keeps moving nicely, the energy rarely drops, and there is a clear sense of cohesion throughout the production. Some staging moments are genuinely slick, and the ensemble work is particularly tight. However, a couple of directorial choices slightly contradict each other tonally, leaving the show occasionally unsure whether it wants to lean fully into sincerity or become a full-blown parody. Still, there are some really enjoyable moments scattered throughout, and the production never lacks momentum.

Set design by Dane Laffrey is every bit as lavish as you would expect from Disney. Large set pieces are reused throughout the show, but they are utilised cleverly enough that it never feels repetitive. The design manages to be both simple and extravagant at once, which is no easy feat. The floor lifts are impressive technically, though they do not really add much beyond making you think, “Well, that probably cost a fortune.” That said, there are some lovely hidden theatrical tricks throughout the production. One standout visual moment is the “Lost Souls” sequence, using flowing cloth and wind effects combined with lasers. It looks absolutely stunning and creates one of the show’s most visually memorable moments.

Lighting by Jeff Croiter is brilliant. There are lighting fixtures hidden throughout the set that are used incredibly effectively throughout the evening, helping create a very cohesive and immersive design. The laser effects, particularly during the Underworld moments, are excellent and elevate several scenes visually. There are some genuinely gorgeous stage pictures throughout the show that feel properly cinematic.

📷 Matt Crockett

Sound by Adam Fisher is solid, even if it is not particularly groundbreaking. The mix is clean and balanced, and importantly, in a musical this size, you can clearly hear every line and lyric. Honestly, in modern musical theatre, simply being able to hear the dialogue without needing subtitles already puts you ahead of half the West End.

George Reeve's video design is stunning. With the production relying heavily on projections and digital scenery, the visuals do an enormous amount of storytelling work, and thankfully, they look fantastic. The projections onto the proscenium itself are particularly clever and beautifully expand the scale of the world. Disney clearly spent the money, and you can absolutely see where it went.

Costume design by Gregg Barnes and Sky Switser is exactly what you would hope for from a Disney musical: glamorous, colourful and unapologetically theatrical. Every costume pops visually, and the Muses in particular look phenomenal throughout.

📷 Johan Persson

Wigs, hair and makeup by Mia M. Neal are just as impressive as the costumes. Everything feels polished and stylised without becoming distracting, perfectly fitting the production's heightened world.

Music by Alan Menken and lyrics by David Zippel remain among the show's strongest aspects. All the favourites are here, and hearing numbers like Go The Distance and Zero to Hero performed live is undeniably enjoyable. Even if some of the newer material blends slightly, the score still carries plenty of nostalgic charm.

The book by Robert Horn and Kwame Kwei-Armah is more of a mixed bag. There are some genuinely funny one-liners throughout, many with a very Tommy Cooper-esque style that lands well with the audience. The pacing also moves quickly, which keeps the show entertaining even when the material underneath feels thin. Unfortunately, emotionally, the show never really connects. You never truly root for Hercules or become deeply invested in any of the relationships, and by the time the production attempts to land its emotional payoff near the end, it feels like too little too late. The heart is technically there somewhere, buried underneath several hundred moving lights and enough gold fabric to bankrupt Hobbycraft.

📷 Matt Crockett

Performance-wise, the Muses absolutely steal the show. Candace Furbert, Sharlene Hector, Brianna Ogunbawo, Malinda Parris and Robyn Rose-Li deliver vocals for days and have fantastic chemistry together. Every time they step on stage, the entire production lifts another level.

Luke Brady as Hercules is decent enough vocally, but the performance feels fairly generic overall, lacking the emotional weight and charisma needed to carry the role fully. He looks every inch the Disney hero, but the characterisation never really digs beneath the surface.

The standout performance of the evening comes from Stephen Carlile as Hades. His comic timing is excellent, his character work is layered and entertaining, and his stage presence is consistently magnetic. Every time he appears, the production suddenly finds another gear. Honestly, what more could you ask for from a Disney villain?

Hercules is ultimately a big, family-pleasing musical that knows exactly who its audience is. Kids will absolutely adore the spectacle, adults will appreciate the nostalgic songs and occasional cheeky jokes, and theatre fans will probably spend most of the evening admiring the technical elements. If you are simply after a fun night at the theatre and are not too concerned about emotional depth or groundbreaking storytelling, this could easily be the show for you.

Hercules is currently playing at Theatre Royal Drury Lane until September 2026.

Book tickets here: https://www.herculesthemusical.co.uk/