Hercules: Live at the Parks-thenon - 7.5 out of 10
Hello Boyfriend Productions/ The Parks Theatres
TICKETS: Hercules: Live at The Parks-thenon | Adelaide Fringe
Hercules: Live at the Parks-thenon, written and
directed by Joel Allan and Jack Evans, is a laugh-out-loud retelling of Greek
mythology’s most famous hero, told panto-style! We boo Hades, cheer for Herc,
and shout warnings when Hydra sneaks up behind him – it’s full of spirited
audience participation. From the outset, the bossy Stage Manager welcomes us,
urges everyone to turn off their phones and “tablets,” and encourages panto
enthusiasm. In a hilarious exchange, he calls out an audience member trying to leave
(only to use the toilet) before introducing the Muses. But since
everyone wants to be a Muse, he casts the parts live on stage, a playful device
that hilariously sets up many key characters. As the chaotic casting wraps up,
the poor audience member still searching for the toilet stumbles onstage and is
accidentally cast as our hero: Hercules!
Allan and Evans have crafted a sharp, imaginative script
that cleverly incorporates an “audience member” into the main role – a running
gag that injects delightful unpredictability and keeps audiences fully engaged.
The show opens with the Muses — Arabella Kirk, Rhys Hill,
Belinda Mentha, Tatenda Chibika, Lucas Mentha, and Sarah Davies — joined by
Sybilla Scarman as Alethia, ever keen to keep the mythology factual but
constantly overruled in favour of a good story. Together, they deliver a lively
opening number and guide the narrative through song and wit.
Filip Okulic plays the “reluctant” audience member Tom,
turned Hercules with brilliant comic awareness, nailing the awkwardness of a
man who doesn’t belong onstage. When he’s persuaded to sing, his karaoke
rendition of What About Me earns rapturous applause. Though
clearly a cast member (to clarify, in case this review confuses anyone),
Okulic blended in so well pre-show that many didn’t notice — helped by the
Greek chorus mingling among the audience to warm up the room.
Nathan Button, taking on the role popularised by Danny
DeVito in the film: the trainer Chiron, is a highlight. His prop-laden costume
and playful energy perfectly complement the chaos of Hercules’ training
sequences.
Though panto tradition dictates we hiss at villains, it’s
impossible not to cheer for Jane Soutar’s magnetic Hades. Her scenes glide
smoothly thanks to her sharp timing and the support of her minions, Fear and
Dread, played by mother–daughter duo Corinna and Juliet Di Niro. Juliet’s
youthful spark is infectious — a performer with clear promise. Soutar’s
gravelly-voiced Hades contrasts beautifully with her unexpected singing voice.
Having been denied access to the Disney soundtrack, Wren
Gilet as Megara shines with a powerhouse rendition of Cher’s The Shoop
Shoop Song, backed by the Muses. Gilet brings depth to Meg’s transformation
from trapped underworld captive to empowered ally to Hercules.
Special mentions go to Amanda Sharp’s Pegasus – her
exuberant prancing and dazzling costume stole every scene; Avi Laird and
Leighara Lawson as Zeus and Hera, both delightful in smaller roles; and Simon
Wotton with Torin Hill as Herc’s earthly parents, Archimedes and Amphitryon,
whose comic timing in their supernatural “possession” scene lands perfectly.
As Fringe draws to a close, audiences lucky enough to
catch Hercules: Live at the Parks-thenon are rewarded with an
energetic, witty, and genuinely joyful experience — a clever reimagining that
celebrates the spirit of pantomime and community theatre at its best.
- Andrew Broadbent
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