Pictures: John Lagucki
Broadway’s BRADLEY GIBSON is leading the company of Disney Theatrical Group’s hit UK premiere production of Disney’s Hercules as the popular musical completes its run at London’s Theatre Royal Drury Lane. Gibson is reprising his performance as the mythical son of Zeus which he originated in the world premiere production in New Jersey in 2023.
Other theatre credits include Fremont Ave. (Arena Stage and South Coast Rep), The Lion King, A Bronx Tale, Rocky (Broadway), Love’s Labour’s Lost (NY Public Theatre) and The School for Scandal (Red Bull Theatre).
For television, his work includes Mid-Century Modern, The Lion King at the Hollywood Bowl, Disney 100th at Royal Variety, Partner Track, Power Book II: GHOST, Kung Fu (CW) and Mozart in the Jungle; and for film, Fire Island.
The musical, inspired by the animated film, based on the ancient myth.
It’s what classical civilisation would have wanted.
Ancient Greece. A time of gods, mortals… and Hercules, who isn’t quite either. But if he’s not a god, how can he possibly save the world from Hades? It’s one thing flexing those pecs, but going from zero to hero requires a different kind of strength.
Get ready for a wise-cracking, column-shaking, underworld-rocking ride of adventure, self-discovery, and love. In tunics.
With music by Alan Menken and lyrics by David Zippel, and a brand-new book by Robert Horn and Kwame Kwei-Armah, Casey Nicholaw’s production of Hercules, co-choreographed with Tanisha Scott, is inspired by the 1997 animated film of the same name from Walt Disney Studios.
Here Bradley Gibson continues Musical Theatre Review’s interview series: Five Questions With…
You originated the role of Hercules in New Jersey, and now you’re making your West End debut in the same role. What has that journey been like, and how has your relationship with the character evolved along the way?
It’s been quite a journey, to say the least. I first began working on the development of Hercules in 2021, and so much of my growth as both an artist and a person has happened during that time.
The biggest evolution in the character has been his emotional maturity. The show has changed significantly since our original production at Paper Mill Playhouse, and I think we all learned a tremendous amount from that experience. What became clear to me is that audiences don’t connect to Hercules because he’s strong – they connect to him because they recognise themselves in his search for purpose, belonging and identity.
In many ways, my own journey has mirrored his. Over the last few years I’ve gained a deeper understanding of who I am as an artist, but more importantly as a human being. My craft has deepened, my approach to the work has evolved and I’ve become much clearer about my boundaries and what I need in order to do this demanding work well. All of that has informed the way I play Hercules today.
What has it been like to move to London and join the West End company?
It’s been a beautiful whirlwind. Between learning the show, doing press and settling into life in London, these first few weeks have been incredibly exciting.
I’ve been fortunate to have so much support and guidance throughout the process. I feel grateful not only for this opportunity, but for all the opportunities that have come my way through Disney. As an American actor, making your West End debut is something you dream about, but it’s not necessarily something you ever expect to happen. To be at Theatre Royal Drury Lane, bringing Hercules to London audiences, feels incredibly special.
I’m still discovering the city, finding my rhythm and taking it all in, but everyone has been so welcoming. I’m excited to continue this adventure and see what the next chapter brings.
Hercules is one of Disney’s most beloved heroes. How have you approached making the role your own while still honouring what audiences love about the character?
I understand that love because I remember exactly how I felt watching Hercules in the cinema as a kid in 1997.
What makes the character so enduring is that, beneath all the mythology and adventure, he’s someone who feels like he doesn’t belong. That’s a feeling many of us can relate to. As a Black man, I’ve certainly experienced moments of feeling unwelcome or out of place, so I connect deeply with Hercules’ longing for home, acceptance and community.
My approach has been to lean into that humanity. If I can connect honestly to his loneliness, his vulnerability and his desire to find where he belongs, then the audience can connect with him too. The muscles and heroics are fun, but it’s his heart that makes people fall in love with him.
Disney’s Hercules – The Muses (Brianna Ogunbawo, Candace Furbert, Malinda Parris, Sharlene Hector and Robyn Rose-Li). Picture: Johan Persson
At its heart, Hercules is a story about finding where you belong and discovering what makes you truly heroic. What do you hope audiences take away from the show when they leave the theatre?
First and foremost, I hope audiences leave feeling the joy, energy and buoyancy that pours out of this show and this extraordinary company.
Beyond that, I hope they leave feeling inspired. One of the beautiful things about a Disney theatrical production is that for many young people it’s their very first experience of live theatre. That’s a tremendous responsibility and privilege.
Every night, I try to give a little piece of my heart to the audience. I want people – especially young people – to leave believing that their dreams are possible. If someone comes into the theatre carrying a burden or going through a difficult season, I hope they leave with a renewed sense of hope. Sometimes that’s the greatest gift theatre can offer.
You’ve performed in major productions such as The Lion King, Rocky and A Bronx Tale. Is there a particular highlight or anecdote you would be happy to share with our readers?
A Bronx Tale was one of the most joyful experiences of my career. I’ve never been part of a company that felt more like a family. The sense of community in the show extended far beyond the stage – we spent so much time together, celebrating, supporting one another and genuinely enjoying each other’s company.
A huge reason for that was the late, great Nick Cordero. Nick wasn’t just extraordinarily talented, he was one of the finest human beings I’ve ever known. His kindness was effortless and unconditional.
One of my favourite memories happened during a matinee when I got the call that I’d been cast as Simba in The Lion King on Broadway. Most of the company was on stage, but Nick happened to be in his dressing room and was the very first person I told. We jumped around, silently screaming and celebrating so we wouldn’t disrupt the performance. He was genuinely thrilled for me.
That’s who Nick was. No matter what was happening in his own life, he celebrated other people’s successes as if they were his own. He treated everyone with kindness and respect, and he led by example. To this day, he remains a beacon for me – a reminder of how to treat people and what true leadership in a company looks like.
- Hercules has its final performance at London’s Theatre Royal Drury Lane on 5 September 2026. Tickets are available via the search engine at the top of this page.
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