Disney's Hercules Musical: A Spectacular West End Revival

Disney’s latest theatrical adaptation of Hercules, which debuted on June 30, 2025, at the Theatre Royal, Drury Lane in London, has captivated audiences with its vibrant set design and engaging musical numbers. This reimagined version of the beloved 1997 animated film features both nostalgic favorites and fresh compositions by renowned composer Alan Menken and lyricist David Zippel.

The production opens with the iconic song ‘Go the Distance,’ which was previously nominated for both a Golden Globe and an Academy Award, setting a triumphant tone for the evening. The musical retains familiar tracks such as ‘The Gospel Truth’ and ‘I Won’t Say (I’m In Love),’ while also introducing new original songs that enrich the storytelling experience.

Emma Stafford, Professor of Greek Culture at the University of Leeds, highlights the significance of the musical in contemporary theatre, noting that it provides a fresh take on classic narratives. Stafford, who has received funding from the Arts and Humanities Research Council for the Hercules Project, states, “The new adaptation offers a unique lens on familiar characters and themes, appealing to both fans of the original film and new audiences.”

Critical changes in the storyline include Hercules being portrayed as the son of a single mother, Despina, who is given her own song, ‘Despina’s Lullaby.’ This modern update has sparked discussions among audiences and critics alike. “While some may find the changes puzzling, they serve to make the story resonate more with today’s societal values,” explains Dr. Sarah Johnson, a cultural studies expert at Harvard University.

Additionally, the character of Megara, played by Mae Ann Jorolan, has been re-envisioned as a more empowered figure. In one notable scene, she confronts two Hydra-venom traders, singing ‘Forget About It,’ a duet that emphasizes her strength and agency. This deliberate shift aligns with a broader trend in theatre towards more robust female characters.

The production’s use of innovative stagecraft has also garnered attention. Daniel Wurtzel, an air sculptor, has contributed to the visual spectacle by creating the illusion of spirits and living statues, enhancing the mythical ambiance of the show. The visual design, led by Dane Laffrey, features a monumental Greek temple facade and dynamic set pieces that transform seamlessly throughout the performance.

However, not all changes have been well-received. Pegasus, Hercules’s iconic flying steed, has been omitted entirely, although his presence is whimsically referenced. Critics such as theatre reviewer Mark Thompson express disappointment, stating, “While the production excels in many areas, the absence of Pegasus feels like a missed opportunity to connect with fans of the original.”

The character of Hades, portrayed by Stephen Carlisle, is depicted with a more subdued demeanor compared to James Woods’ flamboyant interpretation in the animated version. This choice aligns with a trend in contemporary theatre that favors character depth over caricature.

Despite some critiques regarding emotional depth, the production has been praised for its entertainment value and engaging performances. The five Muses, integral to the musical's charm, deliver standout performances while constantly changing costumes, showcasing their versatility and talent.

In conclusion, Disney’s Hercules musical is a vibrant and dynamic reinterpretation of a classic tale that resonates with modern audiences. While some changes may draw mixed reactions, the overall theatrical experience promises to be a memorable one, blending nostalgia with innovative storytelling and design. As the production continues to run in London, its impact on the West End landscape remains to be seen, with many eager to witness how these adaptations will influence future theatrical endeavors.