×
You will be redirected back to your article in seconds

The Lion King (Lyceum Theater)

The beast that is "The Lion King" has come to London, and a beautiful thing it is, too. Arriving nearly two years after I caught the show late in previews in New York, the show's second English-language staging confirms Julie Taymor's ravishing overhaul of the Disney animated film as a high-water mark in the commercial theater.

With:
Rafiki - Josette Bushell-Mingo
Mufasa - Cornell
John Sarabi - Dawn Michael
Zazu - Gregory Gudgeon
Scar - Rob Edwards
Young Simba - Luke Youngblood
Young Nala - Dominique Moore
Shenzi - Stephanie Charles
Banzai - Paul J. Medford
Ed - Christopher Holt
Timon - Simon Gregor
Pumbaa - Martyn Ellis
Simba - Roger Wright
Nala - Paulette Ivory

The beast that is “The Lion King” has come to London, and a beautiful thing it is, too. Arriving nearly two years after I caught the show late in previews in New York, the show’s second English-language staging confirms Julie Taymor’s ravishing overhaul of the Disney animated film as a high-water mark in the commercial theater. Does that make “The Lion King” a great musical? Sadly not, given the inescapable banality of the material that is its source. But Taymor’s vision for the piece remains a great and lasting one that should find Britons fighting for a glimpse of Pride Rock no less avidly than their Broadway brethren.

It won’t hurt, of course, that many of the key creators of the show are British, starting with the extraordinary designer Richard Hudson and extending to the primary composer-lyricist team of Elton John and Tim Rice, even if their contributions — to this observer, anyway — are eclipsed by Lebo M., chief purveyor of the musical’s shimmering African pulse.

Even more impressive on second viewing are the numerous creative fusions that “The Lion King” represents — not just of English and American talent (by this point a virtual commonplace) but of time-honored Eastern stagecraft and contemporary Western theatrical knowhow, the avant-garde and the commercial, the not-for-profit and the corporate, and, most crucially, of white and black in arguably the most thoroughly multicultural stage show that the mainstream theater has yet encountered.

Can a (mostly) British cast cut it? The answer most assuredly is yes, even if some fleeting press night snafus indicated that the crew is probably still adjusting to what must be a technical nightmare. But from the instant that Josette Bushell-Mingo belts out the Zulu-speaking Rafiki’s opening words and the amazing menagerie that is “Circle of Life” starts to fill the theater, it’s clear that London’s “Lion King” constitutes its own impressive entity, not some pro forma clone of what worked back home.

It’s hardly news at this late date to extol visual invention that draws upon so many disparate influences — from masks to puppetry to a Peter Brook-style minimalism of a highly developed, even fanciful order — that the miracle lies in their ability to coalesce. Everyone will have favorite moments. (I remain partial to the so-called “Gazelle Wheel,” not to mention the lineup of ostriches and giraffes resembling a Miro sculpture run riot.) But what amazes more on each viewing is the creative team’s talent for intimacy and quiet amid so assured a behemoth. This is a musical whose scenic coup de theatres are as frequently found in shadows and silhouettes as they are in Big Statements, of which “The Lion King,” the jutting promontory of Pride Rock notwithstanding, has gratefully little.

If the look of the show is ever more astounding, its text most certainly is not, with the result that one is aware of the production not so much enhancing the core material as deflecting attention away from the frequent inanity of it. (Is it my imagination or have Pumbaa’s fart jokes been embellished for Britain, a land long known for its affection for allthings flatulent?) For all the putative affinities to “Hamlet” and a rather droll T.S. Eliot quip, “The Lion King” is no more interested in language than the more directly Eliot-inspired “Cats.” It’s Taymor and Co.’s genius, however, that such a shortfall hardly matters set against an abiding interest in a realm beyond language — the wordless wonder of theatricality at its most primal.

The result can make it tricky for players-cum-puppeteers who end up merely animating a set or mobilizing a crucial prop, both of which “The Lion King” asks its cast to do: hyenas or cheetahs one minute, palm trees and grasslands the next. So it’s a joy to find the 46-strong London lineup confidently kick-started into action by Bushell-Mingo, who substitutes sheer force of vocal attack for the indelible Tsidii Le Loka’s impish command as the ever-wise and eccentric baboon. Playing the murdered Mufasa, who lives on in the lion cub-turned-king Simba, Cornell John sings with such unforced dignity that you wish he were around longer — not least so as to allay the ludicrously camp Scar of Rob Edwards, the villain here reduced to pantomime baddie.

In general, the acting is somewhat broader and looser than in New York, which may not altogether be a bad thing, since it staves off potential self-importance. The meerkat-warthog double-act of Martyn Ellis and Roger Wright prompts a grin with every return visit — not always the case with characters intended as comic relief. As young Simba, Luke Youngblood projects such energy — and flashes such an aimed-at-the-balcony grin — that one half expects Mama Rose to come hurtling down the aisle urging the 13-year-old dynamo on. (The production in all has six Young Simbas and Young Nalas in accordance with British law governing child actors, who may only do a total of 40 performances each.) It’s a mild surprise, then, when — during “Hakuna Matata” — Youngblood yields the stage to the bland if muscly adult Simba of Roger Wright, who is in turn outclassed by his Nala (Paulette Ivory), whose rapturous rendition of “Shadowland” rightly stops the second act.

The performers for the most part are distinctive parts of an enchanting whole whose lapses — the Chippendale-ish contortions of “Be Prepared,” accompanied by jets of steam; the inevitable treacle of “Can You Feel the Love Tonight” — are so brief that barely a moment has passed before another exotic image or sound is holding us transfixed. That’s the prevailing method of a musical that points the way forward by harking all the way back via an appeal to the imagination, which is where the theater’s enduring power to transform truly lies.

The Lion King (Lyceum Theater)

Lyceum Theater, London; 2,089 seats; $35 ($58) top

Production: A Disney presentation of a musical in two acts with music and lyrics by Elton John and Tim Rice, with additional music and lyrics by Lebo M., Mark Mancina, Jay Rifkin, Julie Taymor and Hans Zimmer, book by Roger Allers and Irene Mecchi, adapted from the screenplay by Mecchi, Jonathan Roberts, and Linda Woolverton. Directed by Julie Taymor.

Creative: Sets, Richard Hudson; costumes, Taymor; lighting, Donald Holder; mask and puppet design, Taymor and Michael Curry; choreography, Garth Fagan; sound, Tony Meola; hair and makeup design, Michael Ward; music supervisor, Joseph Church; orchestrations, Robert Elhai and David Metzger; music director/conductor, Colin Welford. Based on the Disney film "The Lion King," directed by Roger Allers and Rob Minkoff, produced by Don Hahn. Opened, reviewed Oct. 19, 1999. Running time: 2 HOURS, 45 MIN.
Musical numbers: "Circle of Life," "The Morning Report," "I Just Can't Wait to Be King," "Chow Down," "They Live in You," "Be Prepared," "Hakuna Matata," "One By One," "The Madness of King Scar," "Shadowland," "Endless Night," "Can You Feel the Love Tonight," "King of Pride Rock."

Cast: Rafiki - Josette Bushell-Mingo
Mufasa - Cornell
John Sarabi - Dawn Michael
Zazu - Gregory Gudgeon
Scar - Rob Edwards
Young Simba - Luke Youngblood
Young Nala - Dominique Moore
Shenzi - Stephanie Charles
Banzai - Paul J. Medford
Ed - Christopher Holt
Timon - Simon Gregor
Pumbaa - Martyn Ellis
Simba - Roger Wright
Nala - Paulette Ivory
With: Irina Aggrey, Mandisa Bardill, David Christopher, Duane Cyrus, Gugwana Dlamini, Gary Forbes, Tashaka Francis, Maria Da Luz Ghoumrassi, Jreena Green, Desmond Harris, Chris Jarman, Luyanda Jezile, Mabonga Khumalo, Godiva Marshall, John Moabi, Hugh Maynard, Mobe Mofokeng, Idris Moudi, Slindile Nodangala, Imelda de los Reyes, Jo Servi, Yaa, Dilim Andrew Esiaka, Dalh Haynes, Claud Paul Henry, Paul Isaiah Isles, Thandi Zulu.

More Legit

  • Clueless review

    Off Broadway Review: 'Clueless' the Musical

    How does a musical stage adaptation of Amy Heckerling’s 1995 film comedy of oblivious privileged teens, “Clueless,” play in the era of female empowerment and millennial engagement? True, the principal skills of lead teen Cher Horowitz are the superficial ones of mall shopping and makeovers. But her sweet spirit and independence, plus some added P.C. relevance, [...]

  • Ley Line Unveils Brian Wilson Documentary,

    Ley Line Unveils Brian Wilson Documentary, 'Hugo Cabret' Musical

    Producers Tim Headington and Theresa Steele Page have unveiled Ley Line Entertainment with a Brian Wilson documentary and a “Hugo Cabret” musical in the works. Ley Line said it’s a content development, production, and financing company with projects spanning film, television, stage, and music. Headington financed and produced “The Young Victoria,” “Argo,” “Hugo,” and “World [...]

  • Daniel Radcliffe

    Listen: How Broadway Made Daniel Radcliffe a Better Actor

    Acting onstage has been a regular part of Daniel Radcliffe’s career for more than a decade — and the “Harry Potter” star says there’s a good reason for that: It’s made him better. “It gives me a lot of confidence as an actor, which is not always something that I’ve felt,” Radcliffe said on the [...]

  • The Jungle review

    Off Broadway Review: 'The Jungle'

    With the rumbling of semis careening by and the sound of Middle Eastern music in the distance, “The Jungle” aims to vividly immerse audiences into the world of the real-life migrant and refugee camp of the same name. By telling the story of the Jungle’s creation in Calais, France, in 2015, and its eventual destruction [...]

  • Hillary Clinton'Network' play opening night, New

    Hillary Clinton Attends Opening of Broadway's 'Network'

    A 1976 film might not be expected to translate seamlessly to Broadway in 2018, but for the cast and creative team behind “Network,” which premiered Thursday night with Hillary Clinton in the audience, the story still feels uncomfortably close to home. “It was a satire then, and now it’s documentary realism,” said Lee Hall, who [...]

  • 'Network' Review: Bryan Cranston Stars on

    Broadway Review: 'Network' With Bryan Cranston

    The 1976 film “Network” won four Academy Awards, including best original screenplay for writer Paddy Chayefsky, for its blistering portrayal of an American society fueled by greed and bloated on corruption. A haggard Peter Finch took the best actor trophy for his harrowing performance as Howard Beale, a TV newsman who is so disgusted by [...]

  • Faye DunawayVanity Fair Oscar Party, Arrivals,

    Faye Dunaway to Play Katharine Hepburn on Broadway

    Faye Dunaway will return to Broadway to play another acting diva. The Oscar-winner is set to portray Katharine Hepburn in “Tea at Five,” a one-woman play that charts the movie legend’s career over the course of a winding monologue. Dunaway last appeared on Broadway in 1982’s “The Curse of the Aching Heart.” In the 1990s, [...]

More From Our Brands

Access exclusive content