Siyo Nqoba: Disney’s The Lion King Review

Disney’s The Lion King at Bushnell Theater

From the rising of the sun to the setting of the same, Disney’s The Lion King musical is brought to life in fantastic fashion at The Bushnell’s enchanting Mortensen Hall. This production makes it clear that no matter how familiar a story is, there’s always potential to create awe in young and elderly alike. Produced by Peter Schneider and Thomas Schumacher and directed by Julie Taymor, this musical taps into the heart of the African culture surrounding the original and timeless story.

Simba (Bryce Christian Thompson), the son of Mufasa (Darnell Abraham) and Sarabi (Maurica Roland) is born in line for the throne— King of Pride Rock. Mufasa’s brother, Scar (Peter Hargrave), lurks in the shadows, sulking over his position in the kingdom and coveting all that his brother has. Mufasa, with the help of his trusted sidekick, Zazu (Nick LaMedica), faces the task of reining in his son’s curiosity with encouragement, boundaries and an understanding of the promise and duty that is his future as king. Simba’s curiosity takes him and his best friend Nala (Ritisha Chakraborty) into folds adjacent to his pending kingdom that triggers fear in his parents and disdain in enemies he isn’t yet aware of.

Simba’s life takes a turn when his father is tragically killed while trying to save him. He runs away from home, meets some new friends, and has a coming of age away from home that challenges his destiny. Uncle scar, with the help of his hyena minions Shenzi (Martina Sykes), Banzai (Forest VanDyke), Ed (Sam Linda), runs Pride Rock into the ground, threatening the wellbeing of the entire kingdom. Despite his estrangement from home, duty calls and Simba (Erick D. Patrick) inevitably answers with the guidance of his spiritual advisor, Rafiki (Mukelisiwe Goba), and the company of his long time friend, Nala (Thembelihle Cele), and his newer friends, Timon (Nick Cordileone) and Pumbaa (Danny Grumich). Simba returns home to face off with the usurper he calls uncle to reclaim his rightful place as king.

Thompson and Chakraborty are a vision! They honor the roles of young Simba and Nala, absolutely nailing the nuances of each character as well as the dynamic between each other.  Patrick and Cele are more of the same. Their characterization of older Simba and Nala offer the exact kind of representation you would imagine for their roles and beautifully executes the emotions behind the moments. LaMedica steals the show over and over and is everything we love about Zazu.  Cordileone and Grumich are perfectly cast as comedic relief— as is Goba, who fills in the cultural gaps while charming and humoring the audience.

Abraham is an offering— embodying the stoicism of the great King while allowing the gaps in his armor to show the tenderness of a father. He is vocally assertive and lulling in his musical numbers. Hargrave is the Scar this production deserves and his cohort of ne’er-do-well hyenas,  Sykes, VanDyke, and Linda are crowd favorites from first appearance to the final curtain.

The emergence of puppets, from the massive figures of elephants through the aisles to the whimsical fluttering of birds overhead, immerses the audience in the story from the very start. The costume designs of Julie Taymor stun each and every scene. The grass hats and rope skirt-clad ensemble, in a pop up effect, welcomes the leaping antelope— paired thematically with Mufasa’s “our bodies become the grass” spiel is representation of the intentionality of each elements collaboration with the next.

Julie Taymor and Michael Curry’s mask and puppet design create incredibly powerful imagery such as the brief face off between Scar and Mufasa. That, coupled with Garth Fagan’s choreography fuses together elements of wardrobe and movement that offers vibrancy in place of the animation we know and love. Fagan’s choreography is two-fold, pairing intentional puppetry and adjacent body movements with the nuances of each scene.

Donald Holder’s lighting design and the production’s use of silhouettes as transitions are wonderfully received by the senses. The projected orange hues of sunset that gives way to the sky blue backdrop of daylight in Richard Hudson’s scenic design provides a beautiful foundation for the visual layering of other set elements, such as the looming pride rock—while also weaving in emotionally suggestive colors to pair with the sound design of Steve Canyon Kennedy and Michael Keller’s music coordination.

Each element of this production masterfully plays on our sentimentality for the original animated production, our love of theatre and music, and our desire for awe. The full experience that is The Lion King musical cradles our nostalgia and whispers inspiration through stunning and abstract visuals, cultural richness, and a seamlessly assembled celebration of the circle of life.

Disney’s The Lion King runs through December 1st at The Bushnell. For tickets and showtimes, visit https://bushnell.org/