REVIEW: ‘Hercules’ at Paper Mill Playhouse is godly
Photo: Bradley Gibson stars as the title character in Hercules. Photo courtesy of Evan Zimmerman for MurphyMade / Provided by The Press Room with permission.
Disney has forever shaped the landscape of musical theater. Some of the company’s most cherished properties — Beauty and the Beast, The Lion King, Aladdin — have played Broadway and continue to pack audiences into theaters around the world. It’s often a Disney musical that is a young person’s first foray into live theater, and, for the most part, their shows have been creatively satisfying and musically stirring. This reviewer’s first Broadway show was Beauty and the Beast, and over the years there have been countless visits to everything from Newsies to Mary Poppins.
The newest movie-to-stage adaptation from Mickey Mouse Inc. is Hercules, featuring music by Alan Menken (a Disney mainstay), lyrics by David Zippel, and a book by Robert Horn and Kwame Kwei-Armah. This Lear deBessonet-directed production, billed as a mythical musical adventure, continues through March 19 at the Paper Mill Playhouse in Millburn, New Jersey. Tickets are mostly sold out, and recently word was released that there will be a German production in 2024.
As it stands right now, Hercules is an enjoyable, engaging affair for younger theatergoers and even the adult crowd. The staging at the Paper Mill is economical and briskly paced, with the cast and crew getting a lot of mileage out of this godly story of a young, hopeful hero trying to find his place in a world of humans and deities.
The title character is played by Bradley Gibson, and his presence in the cast is most welcome. He brings undeniable skill to this central part, ensuring that the audience believes in Hercules’ emotional journey. Another standout is Shuler Hensley as Hades, the foil to Hercules’ plans. In a very Lion-King-esque premise, Hades, who is Hercules’ uncle, tries to take over the realm of the gods and have no competitors. The god of the underworld has a few helpful sidekicks to do his bidding: Pain (Ben Roseberry) and Panic (Jeff Blumenkrantz), two characters very much in line with the Disney storytelling structure (Flotsam and Jetsam from The Little Mermaid come to mind).
One definite plus in this production is James Monroe Iglehart as Phil, something of a mentor to Hercules. The actor, perhaps best known for winning a Tony Award as the Genie in Broadway’s Aladdin, brings wondrous life to a few beautifully realized musical numbers, including “Phil’s Soul Spot,” “I’m Back!” and “One Last Hope.”
Perhaps the best singing comes from the five Muses: Thalia (Anastacia McCleskey), Terpischore (Destinee Rea), Clio (Charity Angél Dawson), Calliope (Tiffany Mann) and Melpomene (Rashidra Scott). They open the show, letting the audience know what story is about to unfold, and they pop up at important intervals to provide some Greek chorus commentary. Their singing is spot on and powerful; Menken’s music never sounded better with these expert interpreters.
Rounding out the cast are Dennis Stowe as Zeus and Kristen Faith Oei as Hera — two parts that feel a tad underwritten. There’s also Isabelle McCalla as Meg, another underwritten character who nonetheless is pivotal to the plot, but never receives enough time in the spotlight to catapult her to the center of the narrative. With the musical running only two hours and 10 minutes, perhaps there are some additions to the Meg character that could come in Hercules 2.0.
The scenic design by Dane Laffrey is appropriately ancient, with mega-columns offering a framing device to a variety of scenes. There’s also a clever stage trick that allows Zeus and Hera to appear and disappear when they offer their advice to Hercules. Emilio Sosa’s costumes are period specific, with that Disney edge. Humans are dressed in somewhat drab colors, while the gods are shining in colorful brilliance. Perhaps the best creation is the Hades costume, which matches nicely with Mia M. Neal’s exquisite hair and wig design.
The songs are catchy, with some of them proving to be resoundingly energetic. The “Gospel Truth” segments from the Muses help to advance the story, while the Disney classics “Zero to Hero” and “Go the Distance” receive their proper due. Meg and the Muses have an Act II number called “I Won’t Say (I’m in Love),” but more is needed for this important character. While Hercules’ 11 o’clock number, “To Be Human,” is a welcome addition, and “A Star Is Born,” although a bit cliche with the lyrics, is a fitting conclusion to the musical.
Hercules is definitely worthy of the stage, and with some additional material, this one seems destined for a long run. Mount Olympus is ready to welcome theatergoers who are hungry that Disney charm and infectious Menken music. This reviewer’s companion for the show — a young theatergoer in elementary school — sat amazed and astounded by the transportive quality of this mythical musical adventure. That’s a good indicator of success in the future.
By John Soltes / Publisher / John@HollywoodSoapbox.com
Hercules continues through March 19 at the Paper Mill Playhouse in Millburn, New Jersey. Music by Alan Menken. Lyrics by David Zippel. Book by Robert Horn and Kwame Kwei-Armah. Directed by Lear deBessonet. Running time: 2 hours, 10 minutes. Click here for more information and tickets.
