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A few fun facts to make you feel old: The original “The Lion King” motion picture opened in theaters nationwide in 1994 — 18 years ago. Three years later, the musical adaptation hit Broadway. Simba the lion’s musical tale of destiny and redemption has pounced through 15 years of Tony awards and international showings, and still manages a powerful roar at this year’s performance at Popejoy Hall.
For those few uninitiated to this early ’90s Disney classic, “The Lion King” follows the story of Simba, the son of Mufasa, Pride Rock’s lion king. A feud in the royal family simmers as Simba’s uncle Scar schemes to take over Mufasa’s throne in typical Hamlet fashion. A few family betrayals and dance numbers later, Simba finds himself an outcast. Raised by a meerkat named Timon and the warthog Pumbaa, Simba’s new life is cut short as destiny calls for his return to the family’s throne. It’s surprisingly heavy stuff, but it stays family-friendly through humor, catchy choruses and well-written characters.
Actress Buyi Zama, playing the prophetic baboon Rafiki, opens the show with the song “The Circle of Life,” a roaring exclamation celebrating the birth of Simba, Pride Rock’s heir apparent. The production uses the number as an excuse to flex its muscles; a mass of animal puppets slowly storms the stage, entering through the audience and joining along in the song’s growing chorus. While Pride Rock’s inhabitants take the stage, the set’s backdrop comes to life as a sun slowly rises over the African savannah. The scene crescendos until Zama holds the newborn prince above the slowly bowing group of giraffes, elephants and zebras.
To put it mildly, “The Lion King” is a technical barrage on the senses.
A main cast of 14 and a large ensemble of dancers and singers fill out the show’s enormous set pieces. Brent Harris is as menacing as he is witty in the role of Scar, trading one-liners for introspection as his stolen empire slowly crumbles before him.
Jelani Remy’s Simba carries the show’s heart as he slowly finds his footing in his father’s footsteps. The show’s leading ladies, Zama as Rafiki and Syndee Winters as Nala, nearly steal the show as each character steps forward to end the reign of Scar.
The musical stresses the idea that life is cyclical and that even after death, one still contributes to the world. The stage often comes to life, as dancers and singers portray the savannah’s grassy fields, swaying with the breeze. The show’s lighting contributes just as much, changing from dawn’s bright orange to the decaying grey aftermath of Scar’s reign over Pride Rock.
As someone who grew up alongside the animated original and once owned a Simba doll, I can testify that “The Lion King” was a feast for fans new and old alike. Before the show began, I was admittedly a little nervous — not for the performance, but for the two little girls dressed in leopard-print gowns sitting one row ahead of me. I couldn’t help but hope that the two would enjoy the show. If there was ever potential for a glaring generational gap, that moment was it. But as the lights dimmed, my worries dissipated. The pair sang along to the opening track, laughed as Simba made fun of his father’s adviser, the red-billed hornbill Zazu, and covered their eyes as Scar fought Simba. It was a reminder that great stories often do resonate, and will continue to do so for years to come.
Disney Presents: The Lion King
Adopted from the screenplay by Irene Mecchi, Jonathan Roberts and Linda Woolverton
Choreography by Garth Fagan
Directed by Julie Taymor
Popejoy Hall
Runs through Oct. 28
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$52.50 balcony seats
For tickets and reservations
call (505) 925-5858 or
(877) 664-8661 or visit
popejoypresents.com/tickets
