The Lion King

The Lion King has finally arrived in Brisbane with the largest box-office advance in the history of the Lyric Theatre and theatregoers last night were not disappointed. This salad bowl of theatrical magic overwhelms with its vision and deserves every accolade it has ever received.

I first saw The Lion King just after it opened on Broadway in 1997 and was amazed by the sheer theatricality of Julie Taymor’s ground-breaking production. 17 years later I’m still amazed. Her use of Asian theatre principles and its use of masks and puppets to bring the original animated movie to life is nothing short of miraculous. So many moments bring tears. The opening number, “The Circle of Life”, which has the animals entering down the aisles of the theatre, has to be one of the most memorable opening numbers in the history of musical theatre. The drying of the land, symbolised by a round piece of blue cloth that is slowly reduced in size by pulling it through a small hole in the centre of the stage, is another brilliant moment, as is the animal stampede - so simply staged, yet so effective.

Although it’s the story of young lion cub Simba and his journey into adulthood, it’s his side-kicks Zazu the hornbill, Timon the meerkat, and Pumbaa, the warthog, who are audience favourites. Jamie McGregor’s Timon and Russell Dykstra’s Pumbaa brought laughs a-plenty whenever they appeared, but it was Cameron Goodall’s Zazu who never missed a pun in Roger Allers and Irene Mecchi’s gag-laden, but essential two-dimensional, script. Josh Quong Tart’s Scar was evil personified, Rob Collins made an impression as Musafa, with Gabisile Manana vocally orgiastic in her various Grassland chants. Nick Afoa was a buffed and athletic adult Simba, while Josslyn Hlenti delivered a powerful “Shadowland” with a big-diva belt. Taymor’s costumes and puppet designs (with the help of Michael Curry) were stunning in their attention to detail and colour and direct copies of the Broadway original as was Richard Hudson’s set design, Donald Holder’s lighting, and Garth Fagan’s choreography.

Particular kudos to the percussion guys James Mack and David Kemp on either sides of the stage whose manic bongo efforts continually upstaged the 19-piece orchestra under Richard Montgomery.

In early 2014 The Lion King became the first Broadway musical whose box-office had exceeded $1 Billion making it one of the most successful titles of all time. That incredible record speaks volumes. It is spectacular entertainment, marvellously theatrical, and best of all, attracts loads of first-time theatregoers which is not only good for Disney, but good for theatre.

Peter Pinne

Image: Nick Alfoa as Simba. Photograph by Deen van Meer.