With fresh songs and a spectacular set, Disney’s Hercules musical goes the distance

“Whose daring deeds are great theatre? Hercules!” So sing the Muses, as they close act one of Disney’s Hercules, which opened at London’s Theatre Royal, Drury Lane last week.

The 1997 Disney animation this new show is based on is, of course, already a successful musical film. The hit song Go the Distance was nominated for a Golden Globe and an Academy Award. The new West End version includes all the film’s familiar musical numbers, notably The Gospel Truth (which is reprised as many as six times) but also I Won’t Say (I’m In Love), Zero to Hero and A Star is Born.

There are plenty of new original songs, too, by the composer Alan Menken and lyricist David Zippel.

Some of the changes to the film’s story, however, are puzzling. In place of adoptive mortal parents Amphitryon and Alcmene, Hercules is born to a single mother, who is given a new (modern Greek) name and her own song: Despina’s Lullaby.

Looking for something good? Cut through the noise with a carefully curated selection of the latest releases, live events and exhibitions, straight to your inbox every fortnight, on Fridays. Sign up here.

More understandable is the skipping over of Hercules’ childhood, allowing Luke Brady’s engaging Hercules to emerge fully grown not too long into the show.

Likewise, Meg (Mae Ann Jorolan) is made even feistier than her 1990s incarnation. Instead of being in the clutches of the centaur Nessus when Hercules first meets her, she has two Hydra-venom traders in a headlock, and she sings “let me tell you a little something about saving women who don’t need to be saved” in the great new duet Forget About It.

Fans of the film may be disappointed that Pegasus – Hercules’s trusty flying steed – has been written out. Though he is nicely referenced through a topiary cameo. But there was effective use of puppetry for a suitably dramatic Hydra – the monster who grows two more heads for every one Hercules cuts off.

Other highlights of stage-trickery include the contributions of air sculptor Daniel Wurtzel. The spirits of the dead are represented by light material floating in a stream of air, and statues of Zeus and Hera appeared to come to life – I really don’t know how they did it.

In another controversial change, the shape-shifting comedy sidekicks Pain and Panic have been downgraded to the humans Bob (Craig Gallivan) and Charles (Lee Zarrett). They are an endearing pair nonetheless, who get their own new song Getting Even.

Indeed, there’s more of an emphasis on both humanity and community throughout the show. In place of Danny de Vito’s satyr Philoctetes, with his hero-training facility based on a remote island, Phil (Trevor Dion Nicholas) operates out of his local pub – Medusa’s bar – with the help of a whole bunch of neighbours from Hercules’ hometown of Thebes.

Also toned down is Hades, at least compared to James Wood’s flamboyant character in the animated film. Stephen Carlisle (previously seen as Scar in Lion King) plays Hades more in the tradition of the upper-class British villain we all love to boo. At the end of the show, however, he becomes literally larger-than-life as a giant puppet. The animation’s battle of the gods against the Titans is turned into a highly stylised confrontation between this turbo-charged Hades and everyone else.

The show’s visuals, masterminded by Dane Laffrey, are undeniably impressive. Even before the curtain goes up, the theatre’s usual proscenium arch has been transformed into a monumental Greek temple facade. Thereafter the sets are dominated by four massive pairs of Doric columns, which glide smoothly into different formations. The backdrop to the gods’ home on Olympus is a giant gold sunburst motif, and everything to do with the gods is golden.

Video-projected backgrounds (by George Reeve) feature further temples and a mosaic texture – really a Roman touch. But a more properly Greek element is the use of vases in the Attic black-figure style. These are seen especially in the early “young Hercules” scene in the market-place and again to go with the Zero to Hero line “they slapped his face on every vase”.

And finally, the real stars of the show are the five Muses (played by Sharlene Hector, Brianna Ogunbawo, Robyn Rose-Li, Kamilla Fernandes and Kimmy Edwards the evening I attended).

Their role – as a cross between the chorus of a Greek tragedy and a gospel choir – is even bigger here than in the animation, of which they were such an innovative feature. They must spend the whole evening on costume changes, appearing in a series of fabulous frocks (designed by Gregg Barnes and Sky Switser), each more spectacular than the last.

Some early reviews have been critical of the show as lacking in emotional depth, and it’s true that the more serious theme of “finding where I belong” is subservient to the high-octane razzmatazz – but I suspect this won’t matter to the majority of West End audiences. Disney’s Hercules is indeed great (musical) theatre.

Emma Stafford has received funding from the AHRC for the Hercules Project (https://herculesproject.leeds.ac.uk/).