Live and in person at the Princess of Wales Theatre, Toronto, Ont. Presented by David and Hannah Mirvish with Disney Theatrical Group. Playing until Aug. 30, 2025 so far.
Zama Magudulela as Rafiki: photo by Matthew Murphy
Music and lyrics by Elton John and Tim Rice
Additional music and lyrics by Lebo M, Mark Mancina, Jay Rifkin, Julie Taymor, Hans Zimmer
Book by Roger Allers & Irene Mecchi
Adapted from the screenplay by Irene Mecchi & Jonathan Roberts & Linda Woolverton
Directed by Julie Taymor
Choreographed by Garth Fagan
Music supervisor, Clement Ishmael
Music director, Sean Mayes
Scenic design by Richard Hudson
Costume design by Julie Taymor
Lighting design by Donald Holder
Mask and puppet design by Julie Taymor and Michael Curry
Sound design by Steve Canyon Kennedy
Cast: Salvatore Antonio
Jewelle Blackman
Lisa Michelle Cornelius
Joema Frith
Simon Gallant
Will Jeffs
Nendia Lewars
Zama Magudulela
Ira Nabong
Erick D. Patrick
Trevor Patt
Camille Eanga-Selenge
Brian Sills
David D’Lancy Wilson’
Thrilling. Breathtaking in its invention, creativity and artfulness. Theatrically dazzling. Its heart beats loudly.
The Story. This Disney musical is of course based on the Disney animated film about a young lion cub named Simba who learns the hard way how to be king of his kingdom. First, he has to deal with the death of his father Mufasa because he is convinced he is responsible and so he runs away. Then there is Simba’s power hungry, evil uncle Scar, not to mention a pack of hideously laughing hyenas that keep rearing their ugly heads. Simba eventually must face his demons and fight for what is rightfully his and save his community.
The Production. I envy any kid or adult who is seeing this magical show for the first time. This will hook them for a life of going to the theatre. Director Julie Taymor’s direction, staging, her vivid imagery, creative costume design, and evocative puppetry and mask work (with Michael Curry), are eye-popping.
The first 10 minutes of the show are particularly striking in establishing the tone and intension for the rest of the musical. The curtain rises slowly at sunrise. Rafiki (Zama Magudulela) the Xhosa speaking mystical female elder mandrill (female in the musical for more balance, as opposed to male in the film) gives the thrilling clarion call for the animals and birds of Pride Rock to gather. Those strong notes of attention from Zama Magudulela as Rafiki just grab one’s heart and squeezes it. This leads into the song “The Circle of Life.” The gathering is to celebrate the birth of Simba (Ira Nabong), the son of Mufasa (David D’Lancy Wilson) and Sarabi (a regal Lisa Michelle Cornelius). The animals and birds are depicted by the most evocative puppets and costumes. That and the combination of the music and lyrics by Elton John, Tim Rice, Lebo M., Mark Mancini, Jay Rifkin, Julie Taymor and Hans Zimmer make that vision just irresistible.
The yellow and orange backdrop of the sky shimmers and slowly rises revealing the sun. The head of a giraffe peaks out from the wings stage left to see what’s going on. And then the giraffe enters, tall, graceful, majestic, commanding and a puppet. Finding the person ‘in’ the puppet working the legs makes the discovery more dramatic. The antelope follow, then birds circling above. Your imagination is swimming with the sight of so much wildlife. And then director Julie Taymor goes for the gusto—a huge elephant lumbers down the house left aisle with other wildlife on the far-right aisle as they climb onto the stage. Knowing the timing of when to raise a backdrop, coupled with the appearance of the animals and how to distinguish their movements and then to use the aisles for a complete effect, displays a stunning sense of theatricality and musicality.
Mufasa is played by David D’Lancy Wilson, who gives a commanding performance of a leader who does not need to bellow. This Mufasa calmly tries to be the example of a king that his son needs to follow. Mufasa tries to teach Simba that he must be fair to all the animals and birds. He must be measured in his dealings and brave and trusted in his behaviour. Simba—a wonderful, impish Ira Nabong—is headstrong and impetuous. Mufasa tries to staunch that.
Scar (played wonderfully by Salvatore Antonio, as smooth talking and seductive) is Mufasa’s jealous, vindictive, evil-minded brother. He feels he should be the heir to Mufasa’s ‘throne’ and not Simba. And aligns himself with the hyenas, the enemy of the lions and uses every underhanded means possible to take control and make the jungle great again.
There is comic relief from Timon the meerkat played with enthusiasm by Brian Sills and the sweet but flatulent Pumbaa, the warthog, played by Trevor Patt. Their rendition of the buoyant “Hakuna Matata,” has the audience swaying to the music.
The whole production is a feast for the eyes and ears. The singing is resounding, although at times it was hard to hear the lyrics clearly because the intensity of the orchestra drowned out the singers too often.
Comment. Our present world has informed The Lion King. The message of the show–that good triumphs over evil—is terrific. It’s been a rule of literature, theatre, the arts and life since forever. But after Tuesday, Nov. 5 2024, that message seems almost old fashioned, quaint. Waiting for Simba to return…..
David and Hannah Mirvish in association with Disney Theatrical Group present:
Playing until at least Aug. 30, 2025.
Running time: 2 hours, 30 minutes (1 intermission)