By Eva Phillips
At this point, writing a review of the astronomically popular and enormously profitable onstage adaptation of The Lion King feels a bit superfluous. 25 years after the world was introduced to Simba, Mufasa, Zazu, Timon and Pumba, and the other denizens of Pride Rock (and Pride Rock adjacent communities) in the Disney animated powerhouse, and 22 years after the onstage adaptation premiered on Broadway, the breathtaking production hardly needs promoting. After all, you don’t become the third-longest running show in Broadway history (beating out a show about some…other…felines), earn a bevy of honors and six Tony Awards (notably including director Julie Taymor’s Best Direction of a Musical—the first awarded to a woman in Tony history), and amass over $1 billion nationally and internationally, making you the most commercially successful musical of all time (sorry, Phantom) if you’re slouching in any way. It would stand to reason that one might only need to review Lion King if, by some unconscionable reason, something went horribly awry on stage one night. But that simply doesn’t happen.
So, The Lion King doesn’t necessarily need any more accolades or celebration—but it certainly deserves all it can get. Making a stop in Pittsburgh on a prosperous national tour from Sept. 9-24th —courtesy of the Cultural Trust—The Lion King is, as expected, breathtakingly enthralling and enchanting from start to finish, elating diehard Lion King fans and first-timers alike at the well-suited Benedum Theatre.
Buyi Zama guides audiences as Rafiki
I had the distinct pleasure of experiencing Lion King on stage once before in Charlotte years ago, and thus was privy to many of spectacular, trademark tricks and creative touches ornamenting the familiar songs and story. As a testament to the immutable consistency and breathtaking standard of brilliance inherent to Lion King though, these creative touches are no less dazzling and breathtaking after repeated viewings. When Rafiki, played with exuberant perfection by veteran performer Buyi Zama, gloriously punctures the eager, pre-curtain silence with the opening notes of “Circle of Life,” the audience is delightedly transported to the Serengeti as elephants, antelopes, and other majestic creatures (embodied and orchestrated by the flawless, multi-talented ensemble performers) gallop down the aisles toward the stage. It is a visual stunning, staggeringly innovative moment that irrefutably proves why Lion King not only continues to win over legions of new fans with every performance, but why it is every bit as magical as the movie experience was to those of who watched it in theatres 25 years ago.
And every dimension of Lion King epitomizes “magical.” Julie Taymor’s unmatched (and award-winning) vision exquisitely translates the vibrant imagery and filmic idiosyncrasies of the source material to the stage while managing to create an entirely unique world in which her performers can thrive and explore. Her work as costume design complements her artistic direction, and the resplendence and purposefulness of the production’s costumes are rivaled only by the mask and puppet designs that are the product of a stupendous collaboration with Michael Curry. Scenic Designer Richard Hudson incredible meticulousness in crafting a world onstage that never rests and always engages, and the transitions between moments of somber existentialism of Simba and Mufasa beneath the Saharan starlight, to moments of devastating chaos as Simba faces the wildebeest stampede are as gorgeously seamlessly as one could ever imagine. And, of course, the efforts of Choreographer Garth Fagan and his team of stellar movement architects, must be given an ovation for their work, as the numerous forms of choreography throughout the show are arguably the pièce de résistance of Lion King, operating on a functional and emotional plane of excellence that thrills.
An all-star cast of performers makes Lion King the unforgettable, engrossing experience that it is. Lion King veterans, like the stellar aforementioned Buyi Zama (Rafiki) and Ben Lipitz (Pumba), and relative “newcomers” to the cast alike shine with iridescent talent and passion. Every player on stage is magnificent: from the rapturously cheeky and raucous performances of Keith Bennet (Banzai), Marina Sykes (Shenzi) and Robbie Swift (Ed) as the heckling hyena henchmen; to the sonorously stalwart, charmingly paternal excellence of Gerald Ramsey as Mufasa; to the commanding effortless of Nia Holloway as Nala. Each performer expertly blends familiar quirks of the original characters with their own, clever nuances (Greg Jackson as Zazu is particularly adept at this) that allows for a unique and enthralling experience at each show. Additionally, the ensemble performers in this production are beyond compare, and their tireless work at every turn throughout the show is crucial to Lion King’s powerful effect on countless audiences.
Jared Dixon as Simba
The Lion King is never at a loss for praise, and deservedly so—the onstage version of the film that captured our hearts and imaginations a quarter of a century ago is every bit as gorgeous, inspiring, hilarious, and heartbreaking (I know I’m not alone in first learning about death from Lion King) as it was upon first encounter. Perhaps even more so now. The wonderful music—orchestrated by very able touring Conductor James Dodgson—and infectious lyrics echo triumphantly through the Benedum and bring unfettered joy for the entire show, and the performances leave you craving more.
Even though it won’t be slowing its prodigious pace anytime soon, do yourself a favor and see The Lion King as many times as you can afford. You might say it’s…to die for.
For tickets and more information, visit The Cultural Trust.
(Touring Ensemble Singers for The Lion King: Derek Adams, Kalilah Black, Chante Carmel, Thembelihle Cele, Daniela Cobb, Ntomb’khona Dlamini, Mukelisiwe Goba, William James Jr., Brandon A. McCall, Nhlanhla Ndlovu, Aaron Nelson, Sicelo Ntshangase, Christopher Sams)
(Touring Ensemble Dancers for The Lion King: Kayla Rose Aimable, Eric Bean Jr., Sasha Caicedo, Sean Aaron Carmon, Adrianne Chu, Gabriel Croom, Erynn Marie Dickerson, Jane King, Amber Mayberry, Jordan Samuels, Kevin Tate, Courtney Thomas, Shacura Wade)
(Touring Orchestra for The Lion King: Karl Shymanovitz (Assoc. Conductor); Chris Neville (Keyboard 1); Paul McCaffrey (Assist. Conductor/Keyboard 2); Robert Tye (Guitar); Michael Brown (Bass); Phil Martin (Drums); Mike Faue (Marimba); Stefan Monssen (Percussion); Reuven Weizberg (Percussion); Darlene Drew (Flutes); Tim Riley (French Horn))
Categories: Archived Reviews