When Disney’s Magic Fades: A Critical Look at ‘Hercules’ on Stage
There’s something deeply unsettling about watching a beloved story lose its soul. Disney’s Hercules, now playing in London until September 2026, is a prime example. As someone who’s spent years dissecting musicals and their adaptations, I can’t help but feel this production is a missed opportunity—a flashy spectacle that forgets the heart of its source material.
The Muses: A Glimmer of Hope in a Sea of Mediocrity
Let’s start with the bright spot: the Muses. Leslie Beehann, Candace Furbert, Sharlene Hector, Brianna Ogunbawo, and Robyn Rose-Li are the undeniable stars of this show. Their voices are electric, their presence magnetic. Personally, I think they’re the only reason this production doesn’t completely crumble. Every time they take the stage, there’s a palpable energy—a reminder of what Hercules could have been. What makes this particularly fascinating is how they manage to shine despite being part of a show that feels so disjointed. It’s almost as if they’re from a different production entirely, one that actually understands the magic of storytelling.
Hades: From Nuanced Villain to Panto Caricature
Now, let’s talk about Hades. In the 1997 film, he’s a masterclass in villainy—witty, nuanced, and utterly captivating. But here? He’s reduced to a one-dimensional try-hard, complete with cringe-worthy lines like, ‘I’m the bad guy!’ What many people don’t realize is that Disney villains are often the most complex characters in their stories. They’re not just evil for the sake of it; they’re layered, relatable, and sometimes even sympathetic. Stripping Hades of his depth feels like a betrayal of the character—and the audience.
Stephen Carlile’s performance is commendable, but even he can’t salvage a role that’s been gutted of its essence. It’s like watching a master chef try to cook with ingredients that have gone bad. From my perspective, this is where the show’s flaws become most glaring. If you take a step back and think about it, reducing characters to stereotypes isn’t just lazy writing—it’s a disservice to the audience’s intelligence.
The Problem with Modernizing Classics
One thing that immediately stands out is the show’s attempt to modernize the story. Pain and Panic, iconic sidekicks from the film, are now named Bob and Charles. Why? It’s a baffling choice that pulls the audience out of the ancient Greek setting. What this really suggests is a lack of trust in the material. The film didn’t need cheap laughs or modern slang to be funny—it relied on clever writing and timeless humor. This production, however, feels like it’s trying too hard to be relevant, and the result is cringe-worthy.
Music: A Tale of Two Worlds
The music is another area where the show stumbles. Alan Menken and David Zippel’s original songs are still the highlight, with lyrics that are sharp, witty, and memorable. But the new additions? They feel like they belong in a different musical entirely. Slant rhymes and clever wordplay are replaced with half-hearted attempts at modern humor. In my opinion, this is where the show’s identity crisis becomes most apparent. It’s trying to be both a faithful adaptation and a fresh take, but it ends up being neither.
Sightlines: A Metaphor for the Show’s Flaws
A detail that I find especially interesting is the issue with sightlines. Sitting on the right side of the theater, I could see actors waiting to enter the stage for minutes at a time. It’s a small detail, but it’s emblematic of the show’s larger problems. Just as these moments distracted me from the action on stage, the production’s flaws constantly pull you out of the story. It’s lazy, and it’s frustrating—especially for a show that’s been running for over a year.
The Broader Implications: Disney’s Theatrical Identity
This raises a deeper question: What does Disney want its theatrical productions to be? If Hercules is any indication, the answer seems to be ‘loud, flashy, and forgettable.’ But is that enough? Personally, I think Disney musicals should aim higher. They have the resources, the talent, and the source material to create something truly special. Instead, Hercules feels like a missed opportunity—a show that could have been a celebration of its source material but ends up feeling soulless.
Final Thoughts: A Broken Heart and a Lesson Learned
As a lifelong fan of Disney musicals and the 1997 Hercules film, this production broke my heart. It’s not just that it’s bad—it’s that it could have been so much more. What many people don’t realize is that adaptations aren’t just about translating a story from one medium to another; they’re about capturing the essence of what made the original special. Hercules fails to do that, and the result is a show that feels hollow.
If you take a step back and think about it, this isn’t just a critique of one production—it’s a commentary on the state of theatrical adaptations in general. In an era where audiences crave depth and authenticity, shows like this feel out of place. Here’s hoping that future productions learn from Hercules’ mistakes and strive to create something truly magical.
Rating out of 7: 2
