Four years ago, Disney’s adaptation of Frozen took this venue by storm, captivating audiences and inspiring a wave of enthusiastic young fans. Now, with Hercules, the question arises: can this hero attract his own legion of followers? In the beloved 1997 animated film, Hercules’s journey from zero to hero was delightful, featuring Gerald Scarfe’s striking designs and James Woods’ memorably wicked portrayal of Hades. However, while this stage adaptation offers plenty of entertainment and catchy tunes, it struggles to capture the magic of its cinematic predecessor.
Directed by Casey Nicholaw, the production moves swiftly, presenting a relentless stream of songs, dazzling lights, and action that lends itself to a conveyor-belt musical feel. The characters, while visually striking thanks to creative set designs, lack depth, making them seem more two-dimensional than godly. Costumes by Gregg Barnes and Sky Switser are magnificent and adorned with campy flair, showcasing dazzling gold dresses and Hercules himself in a striking mesh vest and miniskirt-like toga.
Luke Brady delivers impressive vocals as Hercules, yet the character feels somewhat generic, overshadowed by shades of a lovable but earnest character reminiscent of Joey from Friends—a little more self-awareness wouldn’t hurt. The talented ensemble supports Brady with strong vocals but offers breezy, uninspired dialogue. Hades, traditionally portrayed as a fierce character with flames dancing about him, here feels more like a pantomime villain under Stephen Carlile’s delivery, eliciting a mix of groans and laughter with his corny jokes.
Many of the big numbers, including seven new tracks by Alan Menken and David Zippel, blur together, lacking distinctiveness. They are performed with energy by an American-cast but miss the emotional weight needed to resonate fully. While Go the Distance serves as a beautiful solo, it lacks the heartfelt connection you’d hope for, though the upbeat numbers, particularly the show-stopping reprises by the muses, shine.
The initial half concludes with an NFL-style parade replete with military flair, diverting the audience from the enchanting ancient world into a more generic entertainment experience, driven by stock choreography. However, as the second half unfolds, the humor in the book by Kwame Kwei-Armah and Robert Horn emerges, with Hercules’s character becoming more playful and his romance with Meg (Mae Ann Jorolan, perfectly cool opposite Brady’s exuberance) developing a stronger chemistry. Yet, the monsters Hercules encounters, while visually impressive, come off as oddly sweet rather than fearsome, suggesting the production’s hesitation to scare its younger viewers.
Ultimately, this musical seems a tad dated, echoing classic Disney themes without the self-deprecating charm seen in newer heroes like Maui from Moana. There’s a heaviness to the earnestness that weighs it down. Zippel acknowledges the animated film’s blend of heart and humor, stating “everything comes with a wink.” One can’t help but wish for a few more winks to make this adaptation truly unforgettable.
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