The Lion King @ Bass Performance Hall (Performing Arts Fort Worth)
—Jill Sweeney
The Lion King (the musical, of course): it’s practically an institution at this point (the show made its Broadway debut back in 1997), so much so that it’s tempting to forget what an audacious piece of work it was…and is. Whodathunk (back then, at least) that the marriage of a megacorporation (Disney) and an out-there theatrical auteur (Julie Taymor) would not only work, but result in one of Broadway’s longest running hits? The third U.S. touring production of the now-classic show is stopping at Bass Performance Hall through January 29th as part of Performing Arts Fort Worth’s “Broadway at the Bass” series—and I think it’s safe to say that the old magic is still there.
Disney made a bold choice in tapping Taymor (then known as an “arty” theatrical maverick with a focus on multicultural puppetry) as the director for their new musical version of the animated film The Lion King, but it certainly paid off. Taymor expanded and deepened the story, tapping into the classical elements at play—the young hero in exile, the clash of a royal family, young lovers reunited—while bringing in more South African elements, especially the choral singing throughout, and truly stunning stage effects.
The puppetry on display is inspired, and even the most jaded theatregoers have to admit to feeling a little childlike wonder when watching life-size giraffes stride across the stage. All this, blended with the original music and lyrics from the dream team of Elton John and Tim Rice (with additional contributions from Lebo M, Mark Mancina, Jay Rifkin, Taymor, and Hans Zimmer), combine to create an unforgettable theatrical experience.
The cast is a well-oiled machine at this point, though the show did get off to a late start, and intermission ran closer to thirty minutes than the promised fifteen—leaving younger theatergoers a little restless given the show’s two-hour, forty-minute run time. But why quibble? As Rafiki (played at this performance by Mukelisiwe Goba) launched into the iconic “Nants’ Ingonyama” and the ensemble belted out “The Circle of Life” in the shadow of a huge rising sun, it was impossible not to feel transported.
The cast is, as a whole, incredible, but there were a few standouts. The aforementioned Goba as Rafiki got a lot of laughs with her swaggering gait and seemingly nonsensical ramblings, but brought weight to more serious moments, particularly in the stunning reprise of “He Lives In You”; the effect of Mufasa’s appearance in a starry sky was the most breathtaking moment of the night.
The character of Scar necessitates a certain amount of scenery chewing, and Peter Hargrave takes that directive and runs with it, sneering and snarling through his scenes, accompanied by an appropriately villainous cackle. I especially enjoyed (if that’s the right word) the creep factor he brought to his attempted seduction of the adult Nala (Khalifa White) in the added-for-the-musical number “The Madness of King Scar.” Nick LaMedica’s officious Zazu got some of the night’s biggest laughs, especially for his choice of “bouncy” tune with which to serenade a frustrated Scar after his ascent to the throne. The trio of hyenas (Martina Sykes as Shenzi, Forest VanDyke as Banzai, and Robbie Swift as Ed) were excellent comedic foils for Scar, and managed their complex puppet elements with deceptive ease. Gerald Ramsey brought both gruff humor and gravitas to his portrayal of Mufasa, and Darian Sanders’ adult Simba was brimming over with energy and passion.
The mask and puppetry design (credited to Taymor and Michael Curry) really are spectacular; there’s no attempt to conceal the mechanisms by which they operate, but that enhances the magic rather than detracting from it. The lion heads for Scar and Mufasa in particular, with the way they so naturally fall forward in moments of aggression, is such a subtle but tremendous effect. Also enhancing the evening was the orchestra, conducted by Karl Shymanovitz, which was excellent, and—in what’s becoming rarer and rarer these days—never overpowered the actors.
So even if it’s been around for decades, even though you may have seen it before, even if you haven’t and think it can’t possibly live up to the hype—The Lion King is that rare specimen of theatrical alchemy that really does deserve all the plaudits. And don’t take my word for it; my seven-year old daughters, fervent devotees of The Lion King film and its subsequent sprawling sequels and spin-offs, cheered and gasped and clapped their way through the show, despite it running a little long for their usual theatergoing stamina.
They felt the magic. I’d bet that you will too.
WHEN: Through January 29th
WHERE: Bass Performance Hall, 525 Commerce St., Fort Worth, TX 76102
WEB: basshall.com
