Lion King hits new levels of spectacle for theatre
Based on the 1994 Disney animated film, the musical version of The Lion King is so much more than its smash cinematic predecessor.
The 1997 theatrical adaptation by adventurous director Julie Taymor and choreographer Garth Fagan remains a masterpiece of invention — in costuming, puppetry, lighting. A whole new South African dimension added to the original and alltoo-frequently pap songs by Elton John and Tim Rice was a genius stroke, too.
Visually and sonically, the show retains all the thrill it did when it first toured to Vancouver years back.
The opening scene kicked off by cast veteran Tshidi Manye as Rafiki (Farah Lopez in Act II) leading into the opener Circle of Life remains one of the most thrilling in musical theatre. As the cast chants its way into a representation of the living and vibrant savannah complete with lumbering elephants, vaulting antelope and flocks of bright birds, you can’t help but be transported into the Pride Rock castle.
There, the royal family of King Mufasa (the super buff and bigvoiced L. Steven Taylor), Queen Sarabi and their princely offspring Simba (danced and sung with pizzazz by talented Tre’ Jones) rule benevolently.
Life for young Simba and his betrothed best friend Nala, delivered with impressive power from young Mikari Tapley, is full of romping through the swaying grasslands and perfecting their kung fu poses.
Savaged by the usurper Scar (Patrick R. Brown) at his Vincent Price finest, Young Simba must flee, and our hero’s journey begins with some fantastic lighting design to denote the black mood and dark realities of unknown jungles.
Naturally, it resolves with the bignumber happy ending and the reinforcement of the inherited-right-torule morality of all Disney musical productions.
Fortunately, for both the enthralled young kids in the audience and adults out for a night at the theatre, the narrative encompasses much more than the simplistic stories and antics of Disney animated films.
The Lion King digs deeper into its themes of kinship, honour, responsibility and love than other cartoonto-stage adaptations and benefits from it. Yet nothing in it will likely frighten children.
The motivations of Scar and his trio of truly evil hyenas — Banzai (Keith Bennett), Ed (Robbie Swift) and the huge voiced Shenzi (Tryphena Wade) — are horrid.
But they are not presented for the terror but more for the story.
Balance that with the comic relief of Simba’s companions, the Borscht Belt-hamming meerkat Timon (Nick Cordileone) and the flatulent warthog Pumbaa (Ben Lipitz), and the kids were beaming throughout.
The transition to adulthood for the young protagonists, using cool shadow puppetry, is seamless, too.
When adult Simba Jelani Remy emerged, Act II was off with more fantastical set and lighting designs. Musically, the second half is the weaker. But it handled the big love ballad Can You Feel The Love Tonight? with a big ensemble breakout.
The spectacle that is The Lion King still delivers a great night’s entertainment for the whole family. The show runs until July 12 at the Queen Elizabeth Theatre.