When I first saw the musical adaptation of Disney’s beloved animated film Hercules, I was impressed though it was far from a typical staging. That co-production with the Public Theatre and Public Works in the summer of 2019 included a cast of some 200 mostly amateur performers alongside seasoned veterans in the lead roles. It was fun and moving, and given the extensive community participation, quite heroic.
After three and a half years, Hercules returns to the big stage. This time in a more conventional production at the Paper Mill Playhouse, with a new book and largely re-cast with a solid company of card carrying Equity members. A particular highlight of the earlier production was the magnificent James Monroe Iglehart in the role of Phil and happily he’s returned. Another holdover is director Lear deBessonet. But what is now clearly a more professional enterprise across the board, is not without problems, some big ones.
But first, the good news. The film’s memorable score by legends Alan Menken and David Zippel (with a few new songs added in) remains as deliciously divine as ever. And given our first taste from the five soulful Muses, the stage is set for a rousing start. Every time those divas enter, the thrill is heightened.
Enhancing the entire experience, Emilio Sosa’s colorfully eye-popping costumes, playfully converting the film’s cartoonish designs to human scale.
Another highlight of this production is the inventive choreography by Chase Brock and Tanisha Scott. They even managed to wedge in a freewheeling dance break in the middle allowing the gifted ensemble to show off their marvelous talents.
And of course, the performances are exceptionally strong. Bradley Gibson is everything you’d want in a musical Hercules. And that’s no easy task. He’s called upon to be buff and commanding while displaying enough heart and sensitivity to reveal his immortal side. He’s especially engaging in those vulnerable scenes, and his 11 o’clock number To Be Human, beautifully sung, is a high point.
Disney’s penchant for strong female characters extends to Meg here as a fiercely independent bad ass. Isabelle McCalla pulls it off with finesse, never losing her tough as nails demeanor even as she must ultimately reveal Meg’s softer feminine side, nailing I Won’t Say (I’m in Love).
Comic relief is nicely rendered by Pain and Panic, the incompetent henchmen working for Hades. Ben Roseberry and Jeff Blumenkrantz deliver lots of fun shtick. Best of all, a hilarious scene featuring the duo pretending to be young boys, their heads cloaked in tiny costumes.
My very favorite James Monroe Iglehart puts his own brilliant stamp on the role so memorably voiced by Danny DeVito in the film. As Hercules’ trainer Phil, he’s so thoroughly winning in the part, the show’s creators gave him an extra solo number which he pulls off to perfection.
The key role of Hades, the god of the underworld, is problematic in this production. In the film James Woods was famously all snark, voicing the blue haired villain with a testy tenor. By contrast Shuler Hensley seems miscast portraying Hades with something closer to a bored baritone. What should be a scene stealing performance comes off ponderous and not nearly as entertaining.
The production’s problems are most glaring when it comes to the conundrum of the fight sequences between Hercules and the monstrous Titans. I say “conundrum” because those key scenes in the movie are virtually impossible to recreate with any kind of verisimilitude on a live stage with clunky puppets. James Ortiz deserves credit for his clever puppet designs and direction but there’s no way he could match the on-screen excitement of watching Hercules battle those marauding Titans.
The show’s book written by Robert Horn and Kwame Kwei-Armah doesn’t even make an effort to square them off at all in the final climactic scenes. We see the Titans threatening upstage but the new ending is frustratingly contrived and clearly devised to avoid any kind of showdown. It seemed a cop-out; and on that front, the musical falls disappointingly short.
Overall, the book’s many stabs at humor are hit and miss. In contrast to the film with its very pointed humor, the musical’s jokes don’t always land as intended and some are just not funny. Happily though, there is much to laugh at, and credit is due to the performers who seemed to be having a blast on that stage. And no more so than at the end with an extended finale that thankfully gives audiences a high note on which to leave the theatre.
If Disney is contemplating a move to Broadway, I would urge the powers that be to hold off and address the several flaws embedded in the production. They can’t rely on the strength of the beloved film’s popularity. Despite its many virtues the musical falls short by comparison. There is great potential in the show and much to enjoy but without some serious tweaking, this Hercules is not likely to go the distance.
Disney’s Hercules opened on March 1, 2023, at the Paper Mill Playhouse and runs through March 19. Ticket and information: papermill.org
