Review of Disney’s ‘Hercules’: “Divine adaptation of the 90s classic brings thunder to the stage but not that much humanity”

London’s West End goes into full a-muse-ment as the legendary film finally lands on its stage. Guillermo Nazara shares his views on the show — to let us know if this retelling of the hero is either a zero or if, instead, a star is born.

What makes a true hero? And what makes a good musical? And more importantly, what makes a good stage adaptation of arguably one of the most popular, best-made animated films in History? Don’t worry — I’m not planning on putting on a revealing toga and a two-story ruffled wig as I review the show, accompanied by some saucy hip shifts (Pride is still one week away). Yet, if you want to find out if Disney has fulfilled our one last hope for bringing something to the stage this season, you’d better stay for a whole lot of bitchy gospel truth.

No chance, no way, I won’t say it. Well, to some point, I think I should. Disney’s latest incursion into the West End has succeeded on several levels — all of which entail staying close to the original movie. If you’re looking for a fun evening packed with Alan Menken’s trademark melodious craftsmanship, you shall not go unrewarded.

Intricately instrumentalized through a 13-piece orchestra (a current record considering that gone are the days when London pits would host up to 27 players), Menken’s uplifting, chill-inducing score is the utmost treat of the entire production. Including all the beloved songs that turned the cartoon into an immortal classic, this extended edition of its nostalgic repertoire, featuring longer versions and slightly altered arrangements, captivates audiences through the spark and allure of its signature sound — with a couple of memorable new additions, coming in the form of a long-expected villain’s solo for Hades, Getting Even, and the ear-pleasing ensemble number Great Bolts of Thunder.

The script, however, cannot earn the same praise. Though the show comes off as primarily enjoyable, book writers Robert Horn and Kwame Kwei-Armah haven’t conveyed either the sass or profundity that has allowed the film to resonate with generations of viewers since its release. Despite its comedic approach, the movie continuously exudes gravitas and poignancy — not to mention the Shakespearean archetypes that gave so much richness to the material.

And so, the witches that foresaw Hades’s rise to power and consequent demise have been Banquo-eshed away from this picture. Keeping them could have led to such a galvanizing moment of absolute theatrical awe — where two classical worlds face each other, not to collide but to merge into an explosive ball of power that electrifies the entire recount. Sadly, by the pricking of my thumbs, these wicked three shall never come.

The movie’s core themes of self-identity and personal value have lost part of its strength in this take, too. All in all, the book lacks the introspection and character arc that, shockingly, the animation could encompass so deftly in considerably less time. The dialogue doesn’t reflect the personages’ quest or motivations. Instead, it often comes off as more than a filler than a tool to deepen their evolution. We have the action but hardly ever the pathos. And consequently, the bond with the audience can’t be that robust anymore.

The narrative isn’t devoid of changes, either — those concerning both basis and execution. You won’t be hearing some of the movie’s iconic lines, and there will be lots and lots of new dad jokes that won’t necessarily land at all times. Meg’s role, among others, isn’t as enchanting as her drawn counterpart, either — becoming more two-dimensional through a modern PC filter, which wipes away the flaws and, in the end, humanity that made her so likeable and relatable in her first embodiment. We can take solace in the fact that, even so, Susan Eagan will still be present through the performance — how, though, is for you to discover.

In any case, the production compensates for some of these issues through an overall eye-catching spectacle — delivered through many clever staging choices. If you’re familiar with Disney’s past theatrical endeavours, this latest venture will surely jog your memory. It’s an assortment of previously spotted techniques — and in all fairness, they serve their purpose more than decently.

If a Sunday-Best-dressed genie is your cup of tea, you’ll probably appreciate the Muses’ ongoing blend of black Americana with Ancient Greece. If you’re an Elsa’s dress-change groupie, you’ll be pleased to know your prayers haven’t gone unheard. And if Mufasa’s ghostly reveal is what gets you moving (no further questions), rest assured they haven’t forgotten you.

Designed by Dane Laffrey, the staging’s even mix of screens and physical props leads to a satisfactory result. Pathernon-like pillars move across the space to create different ambiences — while the video animations, consisting of mosaic-looking cut-outs as the backdrops, manage to enhance the theatricality of the whole concoction. The puppetry, however, should have flaunted more originality and could have been way more impressive — never disappointing but certainly not experimenting enough to come up with a moment that could have served as the show’s brand.

As for the cast, the entire company is an utter triumph regarding both singing and dancing. Exceptionally well-coordinated and boasting extraordinary stamina, the ensemble earns the first mention for their impeccable performances in what’s admittedly a physically demanding piece. Luke Brady, as Hercules, boasts competent singing skills, while the little nod to his previous role as Moses in Prince of Egypt comes across as charming somehow.

But not even the character’s godlike strength can bring the house down in the way that the five Muses (Candance Furbert, Sharlene Hector, Brianna Ogunbawo, Malinda Parris, Robyn Rose-Li) do through their amazing vocals and gripping stage presence. The highest acclaim, though, goes to Trevor Dion Nicholas as Phil — not only for his immaculate musical renditions but also (and mostly) his remarkable comedic timing.

Going the distance from the screen to the stage with adequate prowess but leaving plot-oriented audiences slightly the-hydra-ted, Disney’s theatrical adaptation of the 1997 classic might not be the most Zeus-prising. Yet, the production lands in the West End as a safe option for a fun night out filled with unforgettable tunes and family-friendly pizzazz. There might not be a Pegasus to fly through the universe on, but that doesn’t prevent the show from soaring.

All pictures credit to Johann Persson.

Hercules plays at London’s Theatre Royal Drury Lane from Monday to Saturday. Tickets are available on the following link.

By Guillermo Nazara