Powerhouse Performance: “Hercules” Shakes Up London’s Theatre Royal Drury Lane!

Four years after the sensational debut of Disney’s Frozen at this location, which captivated a legion of enthusiastic young fans dressed as their favorite characters, the question arises: Will Hercules manage to attract a similar crowd with his epic tale of valor? Despite his memorable ascent from zero to hero in the beloved 1997 animation, complete with Gerald Scarfe’s distinctive artwork and James Woods’ compelling portrayal of Hades, this theatrical iteration fails to recreate the same magic, though it remains a robust Disney production featuring vibrant songs and dynamic visuals.

Directed by Casey Nicholaw, the play unfolds swiftly, bombarding the audience with a relentless stream of songs, lighting, and action that somewhat resembles a factory production. The characters lack depth, appearing rather two-dimensional, yet the visual and auditory effects are striking. The set rotates ambitiously, aiming to shift the very cosmos. Additionally, the costumes designed by Gregg Barnes and Sky Switser are nothing short of spectacular, offering a flamboyant mix of heavenly gold robes, white Spanx, and Hercules donning a mesh vest paired with a toga reminiscent of a miniskirt by the finale.

Luke Brady shines as a vocalist in his role as Hercules, navigating the complexities of divine and human dilemmas alongside his companion Phil, portrayed by Trevor Dion Nicholas. However, the character of Hercules feels somewhat clichéd, a muscle-bound hero earnest to a fault, reminiscent at times of Joey from Friends—a similarity that perhaps could have been more playfully acknowledged. The ensemble supports Brady well, particularly in their vocal performances, though their dialogues often feel light and lacking substance. The film’s version of Hades was a standout, his head eternally engulfed in animated flames. On stage, Stephen Carlile’s Hades resonates more as a traditional pantomime villain, complete with predictable humor that invites boos with each line.

The score, enhanced by seven new pieces from Alan Menken (music) and David Zippel (lyrics), tends to blend together, creating a somewhat monotonous feel, as in the new song, “Today’s Gonna Be My Day.” Performed briskly by a cast with American accents, even Hercules’ solo, “Go the Distance,” while beautifully sung, lacks the emotional impact one might expect. The more animated numbers, like the reprises of “Gospel Truth” performed by the five muses, stand out more, thanks to their powerful vocal deliveries. The narrative itself, however, feels rigid, as if carved in stone rather than pulsing with life.

The first act concludes with a procession that could be straight out of an NFL halftime show, featuring military motifs and twirling batons, pulling the audience out of the ancient setting and into a realm of uninspired, conventional entertainment choreographed by Nicholaw and Tanisha Scott. In the second half, the story penned by Kwame Kwei-Armah and Robert Horn gains humor as Hercules adopts a more lighthearted demeanor, and his romance with Meg (Mae Ann Jorolan), who plays it cool against Brady’s overt warmth, develops more naturally. Yet not all elements find their footing; the mythical creatures Hercules encounters, though large, are portrayed too innocuously, perhaps to avoid scaring the younger viewers.

This rendition of Hercules might reveal the age of its cinematic predecessor, reflecting an older style of Disney storytelling where the hero is not quite as self-aware or ironically detached as contemporary characters like Maui from Moana. In the program notes, Zippel highlights the original animated feature’s blend of humor and heart, expressing a desire for more subtlety in this production. Unfortunately, those nuances seem scarce.

• At Theatre Royal Drury Lane, London, until 28 March