Edinburgh Fringe 2026

Heracles: Of Men and Beasts

The Barden Party

Genre: Adaptation, Musical Theatre, New Writing

Venue: The Space at Niddry Street

Festival: Edinburgh Fringe

Low Down

Review

Heracles: Of Men and Beasts is an ambitious new folk musical from Kiwi theatre company The Barden Party, directed by Laura Irish and featuring original music and lyrics by Ollie Howlett. The show stars Caleb James in the title-role of Heracles, alongside Isabella Aarons as Megara, Laura Irish as the Goddess Hera, and live music, vocals, and narration from Ollie Howlett. Inspired by the Greek myth of Heracles, the production is not centred around the familiar accounts of his heroic feats, instead exploring his relationship with family and himself. The piece considers the consequences of both the weight of expectation upon Heracles as immortal hero, and the desperate uncertainty of Heracles as mortal man.

The audience enter to find Heracles bowing before the frozen figure of Hera, with a woman (who we later discover is Megara) stood behind him. Bathed in a warm, golden glow, the space is immediately made to feel intimate and inviting with seating on all four sides of the stage. Throughout the piece, the cast do a phenomenal job of engaging every member of their public, drawing them in with characterful asides, and addressing them as though they are the very “mortals” Hera speaks of. In one corner of the space, Ollie Howlett creates a beautiful soundscape – using various instruments and a loop pedal – that gently immerses audiences into the mythical world of Heracles’ epic tale.

The language of both script and lyrics is stunningly descriptive and poetic and felt perfectly suited to the myth being re-told on stage. Gorgeous lines, brimming with imagery, and bardic-like lyrics such as “tethered hearts you thought were one, just knots that come undone” helped the cast of four set the scene as – much like a traditional Greek chorus – they shared the telling of the tale between themselves. A lovely blend of action, song, and narration, the piece sometimes leant a little heavily on the latter. However, given the scale and complexity of the myth being depicted, the need for continued exposition to ensure the audience can enjoy the show to its fullest is understandable.

The production featured several numbers with exquisite choral harmonies that seemed to fill and reverberate around the space. The male vocalists – Caleb James and Ollie Howlett – were incredibly powerful, with voices that instantly shook the room with their low, gritty tone that felt somewhat reminiscent of rock and dark country music. They also were able to pull back and be softer in the more vulnerable, quiet, and emotional moments, showcasing an impressive range and versatility. Laura Irish’s ability to effortlessly portray deep emotion and clear character through song did not go unnoticed – particularly in her final solo as she begs Zeus for recognition, devotion, and accountability. Regarding Zeus, the use of the thunder tube to voice the character, paired with Laura’s upturned gaze, gave him the perfect oppressive presence without needing to physically embody him onstage.

The choreography was beautifully simple and effective, and (once-again) very well staged to suit the space and audience-layout. I particularly enjoyed the movement during the casts’ opening number when praying to Hera. There was also a repeated gesture used when characters referenced the Oracle of Delphi’s words “Know thyself”, which soon became a physical language in-an-of-itself as the audience came to understand the meaning of the gesture without the need for words. With physicality and movement in mind, one moment that had boundless potential – and already showcased a brilliant concept – but would benefit from further development to expand on the scale, ferocity, and physicality of the beast, was Heracles’ battle with the Nemean lion.

The design was very cohesive, building a world in which the show felt perfectly placed with warm tones, hints of gold in accessories and props, and raw, natural materials used for most set pieces. There was a lot of attention to detail put into the inclusion of items that tie back to the characters and the myth, such as Heracles’ club, and Hera’s golden apple of immortality. It also incorporated what is described as “a 1940’s hollywood aesthetic” which was very nicely blended in with the more traditional-looking ancient Greek elements, and definitely sparked intrigue, however I feel there was no context given for this choice. Whilst it certainly didn’t take away from the overall soft and mellow feel of the design, it was never fully addressed either leaving is wondering why the choice was made and whether it was relevant to this new interpretation of the tale. The lighting complemented the colour palette, remaining consistent with warm washes and a pink-ish hue for the romantic highlights in Heracles and Megara’s relationship. However, there were one or two lighting states that would have benefitted from a slightly slower fade from one colour wash into another, in order not to distract or take away from the action onstage.

Overall, this was a very ambitious piece, and the cast and creative team have done a wonderful job of producing a cohesive and poetic production rooted in mythology. If, like myself, you are a bit of a Greek Mythology buff, this production will certainly have you considering Heracles in a whole new light. However, even if you’re not, it’s worth adding to your list for its enchanting storytelling, and live music alone. Whilst there is some room for further development – and the company themselves recognise it’s an unfinished story, with part two of the musical hopefully gracing EdFringe stages next year – I think they have done a praise-worthy job of adapting such a huge myth into a new musical that is engaging, thought-provoking, and character-driven.

Published August 18, 2026 by Elissa Nicholson