The Lion King at DPAC Boasts a Top-Notch Cast and Spectacular Production Values

This article was published by Triangle Review on 16 May 2024.

Looking for a fun yet meaningful night out with the kids this month? Look no further than The Lion King, playing now through Sunday, June 9th, at the Durham Performing Arts Center.

I'm not talking about the 1994 Walt Disney Animation Studios' film of the same name, nor The Festival of the Lion King performance at Walt Disney World. I'm talking about Disney Theatrical Productions' stage musical, with music and lyrics by Elton John and Tim Rice, a book by Roger Allers and Irene Mecchi, and additional music and lyrics by Lebo M, Mark Mancina, Jay Rifkin, Julie Taymor, and Hans Zimmer

Much like "The Festival of the Lion King" performance that comes with tickets to Disney World's Animal Kingdom theme park, the Broadway musical features actors in animal costumes as well as giant, hollow puppets. The Lion King (musical), which has been on Broadway since 1997, is Broadway's third longest-running show in history and the highest-grossing Broadway production of all time. But unlike the movie or amusement-park production, The Lion King (musical) puts its audience in the center of the life-sized animals that are integral to its Hamlet-like plot and message.

The moment the production begins, the audience is treated to beautiful, ingenious, life-sized puppets of African animals, created by Julie Taymor and Oregon-based puppet designer Michael Curry. Masterfully controlled giraffe, cheetah, zebras, antelope, and even a giant elephant dance on stage and in the aisles as spiritual master Rafiki, played by Mukelisiwe Goba, sings and dances in enchanting South African Zulu tradition. Goba was born in Durban, South Africa, and to see her perform is like stepping into a festival in KwaZulu-Natal. It's worth going to see the production just to see her.

Before the show started, I was wary about the acting that I was about to see, as Disney's animated film sets the bar incredibly high -- Jeremy' Irons and Jim Cummings'performance of disgruntled brother-to-the-king Scar's signature song, "Be Prepared," is one of my all-time favorites. But the actors in DPAC's production are all top notch and uniquely impressive in their human performances.

Lion King Mufasa, played by Gerald Ramsey, has the smooth, low voice of James Earl Jones (who played Mufasa in the movie); but unlike the movie, we get to hear Ramsey's Mufasa voice in song, which I'm relieved to say is just as velvety.

Peter Hargrave's performance as Scar is equally enjoyable. His snide British royal accent is fabulous, though I wish his musical lines in "Be Prepared" more closely mimicked the film version.

Nick LaMedica is mesmerizing as Zazu. The way he flies that bird around and talks and sings for it at the same time is pure magic.

And Nick Cordileone and John E. Brady's portrayals of meercat Timon and warthog Pumbaa (Lion Prince Simba's best friends) have just the right amount of Brooklyn accent to go with their Brooklyn attitudes, which is more impressive when you consider the larger-than-life puppeteering that they are doing every moment that they are on stage.

Young Simba and Young Nala, played on Thursday night by young Bryce Christian Thompson and young Ritisha Chakraborty, are definite highlights. Their duet in "I Just Can't Wait to Be King" is adorable and fun, enticing the audience to sing along. John E. Brady and Khalifa White are equally harmonious in their portrayals of adult Simba and Nala.

But the best vocals in this production are the group numbers. The Zulu rhythms and harmonies that envelop the audience are just plain magical when the entire ensemble breaks out in song and dance.

Richard Hudson's scenery is captivating as well -- every single scene change brings something different and clever. Donald Holder's lighting design expertly highlights the puppets and obscures the actors so that they almost disappear, somewhat astonishing viewers when they remember that the performers are there. And Michael Ward's hair and makeup design, especially for members of the company who perform without masks, only adds to the enchantment.

Disney's The Lion King (musical) is a visual spectacle -- a giant puppet show, dance production, Zulu-influenced concert, and Broadway musical, all rolled into one. It's the perfect performance to see with the kids. But I caution against taking children under 10 years old to the night-time production, as the performance runs for two-and-a-half hours -- past 10 p.m. Though the subject material is certainly appropriate, that's a long time for young kids to sit still and pay attention, particularly late at night.

Constructive Comment: If I were in charge, I'd omit 2-3 songs in the second act and get rid of the intermission altogether. I think the audience would appreciate the musical more if it weren't so long, and shortening the production time makes it more amenable to the younger children who will certainly want to see it.