Theater Review: "Hercules: The Electrifying New Musical" Brings Divine Spectacle to the West End

Disney’s theatrical adaptation of Hercules has undergone quite the mythic transformation. What began as a limited Public Works production in Central Park in 2019 has now evolved into a full-scale West End spectacle, with Hercules: The Electrifying New Musical opening tonight at Theatre Royal Drury Lane. And electrifying it was. The production has traversed continents—reworked at Paper Mill Playhouse in New Jersey, reinvented in Germany, and now returned to English-language audiences with its most confident and cohesive staging yet.

From the moment you enter the theater, it’s clear this isn’t just another Disney retelling—it’s an event. Ushers wield cheeky signs that read “Hades is Watching You," warning against photography with a wink. Fans pack the lobby, snapping up exclusive merchandise, including a Loungefly bag created specifically for this show—a Disney Theatrical first. Inside the auditorium, the energy is infectious, and the subtitle doesn’t lie. This is no mere revival—it’s a thunderbolt of theatrical innovation that honors the animated film while crafting something entirely its own.

Set designer Dane Laffrey makes the most of iconic Greco-Roman imagery with towering columns that glide and rotate across the stage, creating dynamic scene transitions. A massive LED backdrop, resembling a shifting mosaic, adds motion and mood without pulling focus from the action on stage. A cleverly integrated suspension bridge spans the proscenium and is used to visually distinguish the world of the living from the Underworld. When the bridge descends, it signals a journey into Hades' realm—an elegant solution that keeps the storytelling clear. Stage lifts allow for dazzling moments of surprise, including the Muses dramatically appearing and vanishing like divine pop-up narrators.

While the musical remains set in ancient Greece, it follows the animated film’s lead in peppering the production with contemporary references and modern flair. That blend of old and new fuels many of the show's most charming surprises.

Phil, for instance, is still a gruff but lovable trainer, though this version ditches the satyr horns and hooves in favor of a more grounded portrayal—still eccentric, but fully human. He moonlights at Medusa’s café, a hilarious new setting that offers a clever cameo from the snake-haired gorgon. Hades’ henchmen are now Bob and Charles—deadpan human lackeys with enough bite to pay tribute to Pain and Panic without imitating them outright.

The three Fates have been streamlined into a single prophetic figure, Tiresias, whose appearances thread the mythic narrative together. Meanwhile, Hades’ fiery look gets a devilish upgrade—he’s no longer blue with a flame-head but cloaked in commanding reds, his menace more Mephistophelean than manic.

Luke Brady is perfectly cast as Hercules, capturing the character’s youthful exuberance without tipping into parody. His performance grounds the musical’s emotional core, charting the hero’s self-discovery with sincerity and strength.

While Hercules takes the final bow, Megara—played by May Ann Jorolan, reprising her role from the German production—arguably delivers the evening’s standout performance. Her smoky vocals and sharp comedic timing give Meg a striking presence that steals nearly every scene she's in.

Trevor Dion Nicholas reinvents Phil for the stage, wisely avoiding comparisons to Danny DeVito’s animated version. He builds the character’s bravado before subverting it with the funky showstopper “One Last Hope," which lands as one of the most memorable numbers of the night.

Stephen Carlile also makes a strong impression as Hades. Rather than mimic James Woods’ iconic performance, Carlile brings a fresh take to the Lord of the Underworld, delivering razor-sharp wit with a devilish theatricality. With most of the villain’s lines rewritten for this version, it’s a role that feels at once familiar and entirely new.

The Muses remain central to the show’s magic, their narration stitched through the musical in dazzling fashion. A quintet of Black divas in ever-changing couture, they channel gospel, soul, and ball culture, commanding the stage with vocal fireworks and runway-ready flair. Their numbers are always a highlight, from the opening “Gospel Truth" sequences to their cheeky interjections and fashion-forward costume changes. Saved for the curtain call, “A Star is Born" gets audiences out of their seats and clapping along as the cast take their bows. They got the loudest applause, and it was well earned.

In keeping with the spirit of the animated film, Hercules leans into camp and theatricality. The show is packed with visual jokes, meta references, and some sly innuendo that will sail over kids’ heads. Even cultural tweaks are made with care—the film’s “Call IX-I-I!" joke is updated for the UK audience as “Call IX-IX-IX!"

And then there’s the ensemble: chiseled, often shirtless men clad in little more than fustanella (the traditional pleated Greek garment), bringing a surprisingly sexy edge to a Disney-branded production. Add in mesh tank tops, dramatic lighting, and a wink to queer sensibilities, and this version feels as much at home on the West End as it would at Pride.

The score draws on Alan Menken and David Zippel’s original music, while integrating new material written for the stage. The restructured song list gives the show a more consistent dramatic arc, with reprises that deepen character journeys rather than simply repeat catchy hooks. Highlights include the buoyant new song to introduce young Herc “Today’s Gonna Be My Day," Meg’s character-defining “Forget About It," the earth-shattering “Great Balls of Thunder" for the Muses, and the emotionally resonant “To Be Human," which reframes Hercules’ final transformation not as a reward for brute strength, but as the outcome of empathy, sacrifice, and love.

With bold performances, stunning visuals, and a book that respects the past while playing joyfully with the present, Hercules: The Electrifying New Musical lives up to its title. Whether you come for the nostalgia, the spectacle, or the sass, this West End debut proves that Disney’s demigod is still very much a hero for our time.