After being seen by 100 million people worldwide since its inception in 1998 can the formidable Disney Corporation still make The Lion King as exciting and relevant as the original show and iconic movie? While most reviews have given a warm welcome to the remake of the original film, can new life be breathed into the one time ground breaking theatrical incarnation?
The narrative of course remains the same. It goes without saying that there is great singing as well as exuberant costumes and a stunning set design. Musical production by Jonathan Gill, backed up by drummers perched in boxes at the sides of the auditorium is fantastic. And there is also a palpable, electric sense of expectation from an audience who have been promised an evening of genuine glitzy razzmatazz.
But, boy does it deliver. What a life affirming, foot stomping, shoulder shimmying, blast of pure theatrical magic. The opening scene thrilled the senses with what must be some of the most jaw dropping puppetry ever seen on a stage. The fabulously authentic South African Thandaziele Soni as Rafiki opened with an incredibly evocative prologue followed by giraffes, cheetahs, antelope and hugely majestic elephants swaying down both aisles of the stalls. And that’s not forgetting the stars of the show, the lions. Both Jean-Luc Guizonne as Mufasa and Richard Hurst as his pantomime villain brother Scar nailed it. Both young and older Simba captured the flawed naiveté of youth while both Nalas excelled with a mixture of tenderness and strength. Josslyn Hlenti’s voice as the elder Nala provided a link to the Pride lands by way of her genuine authentic Durban heritage.
Despite the anthropomorphic depictions so ingrained into the Disney canon and the strange slightly less black casting of the major roles as opposed to the ensemble, the show’s heart still beats powerfully.
The most impressive elements are contained in the chorus routines which lift the show above the heights of the movies by virtue of their strong links with African dance and rhythms. At times it’s almost like Paul Simon’s Graceland meets The Jungle Book, but in a good way.
The puppetry is awe inspiring, not only for the vast range of animals on display, but because their movement and behaviours are so well observed. The cheetahs slink, the hyenas roll their hips and the lions have real commanding presence.
There were reservations, notably the lack of connection between Steve Beinaert’s Timon and Carl Sanderson’s Pumbaa, possibly due to the former’s curious lack of eye contact with either the audience or other characters. At times things seemed a little mechanical, not allowing performers’ individuality and personality to shine through, but these are minor quibbles.
Dazzling theatricality will always win the day if combined with great pace and energy and The Lion King has it in abundance, with sharp as a razor scene changes.
At the finale the audience rose as one and roared their approval. The latest version of The Lion King roars again. ★★★★★ Bryan Mason 12th September 2019
