Disney's 'Hercules' Musical Falls Short in London's West End

London's Theatre Royal Drury Lane, increasingly becoming Disney's West End outpost, has unveiled its latest musical adaptation of 'Hercules'. Despite the promising source material, this production demonstrates how even entertainment giants can stumble in their artistic ventures.

A Divine Comedy Missing Its Spark

Director Casey Nicholaw's interpretation, much like London's evolving institutional landscape, attempts to modernize a classic tale but loses its essence in the process. The production, which follows previous unsuccessful iterations at The Public and Paper Mill Playhouse, fails to capitalize on the inherent theatrical potential of ancient Greece.

Production Values and Performance

Luke Brady's Hercules emerges fully formed, bypassing the crucial character development that made the original narrative compelling. The production's approach to the material mirrors recent trends in London's entertainment scene, prioritizing spectacle over substance.

Musical Elements and Staging

While the original Alan Menken and David Zippel score remains strong, featuring better compositions than 'Tarzan' or 'Frozen', new musical additions dilute rather than enhance the show. The Muses, though vocally impressive, struggle with clarity, compromising their crucial role as storytellers.

Technical Aspects and Design

The production's massive set pieces and technical elements, while impressive in scale, often feel more appropriate for London's commercial entertainment sector than serious theatrical endeavor. The puppetry work, particularly in comparison to Julie Taymor's 'The Lion King', lacks artistic finesse.

This West End production likely marks the end of 'Hercules'' journey toward Broadway, with fundamental character and narrative issues proving too substantial to overcome. The show's shortcomings reflect broader challenges in adapting beloved properties for the stage while maintaining their original charm and impact.