Disney’s Lion King: I Just Can’t Wait to See the Lion King! By Huxley Westemeier

Disney’s Lion King: I Just Can’t Wait to See the Lion King! By Huxley Westemeier

 

Mufasa, Simba, Nala, Scar, Zazu. Classic characters from a family-favorite story of acceptance and pride. Julie Taymor’s 1997 Broadway classic The Lion King returns to roar in Minneapolis, where it originated 27 years ago, and this tour is phenomenal. From the opening sequence Circle of Life, where dozens of elaborately-costumed performers convincingly portray wild animals (including giraffes on stilts and an enormous elephant) to Scar’s final moments as he falls off Pride Rock, this production is a lesson in theatricality. The African dances and chanting adds more amazing sensory experiences that neatly bookmark pivotal scenes. While the storyline and dialogue is purposefully cheesy and at times a little too self-aware, I think it’s the perfect Broadway introduction show for any child.

Every single actor had a stand-out moment and deserves praise for their challenging movement and convincing animal portrayals. Highlights were Darian Sanders as Simba, whose impressive high tenor voice brought a level of sweet naivety and later strength to Simba’s arc. Mukelisiwe Goba as Rafiki was stunning from her first note in Circle of Life, comedically swinging back and forth and popping up in various scenes throughout the show eliciting laughs from the audience. 

But the most beautiful part of Lion King’s production was the set- which is painstakingly simple. No elaborate projections or screens, and no technological elements that feel out of place. The sun in the opening number is a giant window blind- light pieces of folded fabric gracefully rising off the stage in a way that somehow feels emotionally provocative. Some Disney productions, including Aladdin, have set designs that appear cheap or tacky with a heavy reliance on scrims, but 27 years later, The Lion King’s set design is timeless and beautiful.The simplicity transports the audience seamlessly.  It’s a testament to Richard Hudson’s set design and Julie Taymor’s creative vision that their ideas are still powerful and relevant. 

Julie Taymor’s costume and puppet designs are, to put it simply, wow. She brings the animals to poetic life from the lion masks worn above Scar and Simba’s heads that swivel down in an extremely cat-like manner to Pumba the Warthog’s puppet with expressive eyes and a moving mouth. All of these elements sell the illusion of animals living in the African savannah.

The only gripe I have is with the Disney-ification of the fantastic storyline. Jokes are disjointed and feel like an excuse to market other properties. It’s strange to hear powerful African chants and see Mufasa’s head floating in the sky only to immediately be forced to listen to Zazu sing Let It Go. But the main target audience- families and especially young children- won’t care about these moments. 

I saw this same tour when I was 8 years old and remember being in awe after seeing the scale of the giraffes and the automated Pride Rock set piece. I loved everything. There’s a reason it won best musical amongst six other Tony awards. This really is the most accessible musical I’ve seen- it combines dance, theater, acrobatics, and Elton John’s catchy score to create a memorable piece of art that is easy to recommend to any potential theatergoer or family. Get your tickets and head to Pride Rock now! Hakuna Matata!