Hercules muscles in from Olympus to the West End

Isobel Lewis speaks to the creatives and cast about the task of translating the Greek myth cartoon to the stage and why being faithful to the source material isn’t always the way to go

- Isobel Lewis

For months now, the phrase "Muse Flash" has been appearing around London. With every sighting of these words and the accompanying cartoon lightning bolt, I'm reminded just how much money is being pumped into ensuring the success of the new musical adaptation of Disney's Hercules. It appears to be working: previews sold out months in advance and an extended run until March 2026 has already been announced. Commercial victory is all but guaranteed. But a hit to the tune of The Lion King or the recently closed Frozen? Well, that remains to be seen.

When fans talk about how the Greek myth of demigod Heracles became their favourite Disney film, the same things are always mentioned. Firstly, there is the emotional story of a son seeking to earn a place in his family. Then there are the energetic songs composed by Disney royalty Alan Menken (the R&B doo-wop of "I Won't Say I'm in Love", say, or the gospel-inflected "Zero to Hero"). And finally, the sheer vibe of the 1997 film: its vivid colours, offbeat comedic style, and modern approach to ancient mythology. In James Woods's fire-spewing hands, lord of the underworld Hades is a camp icon: a wise-cracking, eye-rolling force of evil. Danny DeVito, meanwhile, imbued Philoctetes, the reluctant mentor of Hercules, with old-man sarcasm.

Anachronistic titbits are charmingly woven through the script to great comic effect, from the Nike-inspired range of "Air-Herc" shoes to the moment someone calls "IX-I-I!" for help.