When The Lion King first opened on Broadway ten years ago, even seasoned New York critics were stumped about what to say. Adjectives such as "stunning," "fantastic" and "incredible" didn't even come close to describing this unique show. The best statement, I think, came from The New York Times: "It's unlike anything you've ever seen." Thankfully, that's still the case. A touring version recently opened in Appleton, Wisconsin, bringing local theatergoers their first taste of this extraordinary musical. To be fair, not a few Wisconsinites already had seen the Broadway version, not to mention the Chicago tour, which played for more than a year. But now Wisconsin can roar about its own touring production, which opened with great fanfare in the Fox Cities Performing Arts Center.
The handsome, four-year-old theater is a wonderful showcase for such an enormous show as The Lion King, which features a large cast, an equally large number of puppets, costumes galore and gigantic set pieces (remember Pride Rock?). At 2,100 seats, it's also a bit larger than Broadway's New Amsterdam Theater (1,770 seats), which was The Lion King's home for many years (it's now at the Minskoff). This touring version is A-1 in every respect. It has the unsurpassed combination of color, choreography, light and movement that makes The Lion King such a marvel. Although the show doesn't require any "name" talent, it does require top-notch actors, singers and dancers. This show doesn't disappoint in any of these areas.
Many of the actors are veterans of earlier Lion King productions (in New York, Los Angeles, London, etc.)
The opening procession is still one of the best in modern theater. Scores of "animals" either galumph, prance or soar down the theater's aisles as they gather onstage to pay tribute to Simba, the lion-king cub who will one day be their ruler. The papier-mache puppets, masked and face-painted humans all combine for a spectacular effect. It's hard to imagine anything that can come close to topping this extravaganza. But the plot quickly takes hold, melding the storyline from the 1994 animated film with a few new songs and snatches of dialogue neatly integrated into the stage musical.
As always, the scenes with the "child" Simba and his female playmate, Nala are a highlight for the kids. Their most exuberant moments come in the hummable song, "I Just Can't Wait to Be King," in which they ride through the jungle on very tall, colorful birds. There is some mild danger when they venture into the hyena's territory (as exemplified in the song, 'Chow Down'). But the danger quickly passes as Simba's father, Mufasa, comes roaring to the rescue. The scenes between Scar, Mufasa's jealous brother, and the trio of dimwitted hyenas are exceptionally well done.
Also memorable are the scenes between Mufasa and his young son, as Mufasa explains how "the circle of life" will always connect them. Later, the herd stampede takes Julie Taymor's imagination to new levels, as several devices are used to depict the approaching animals. Boy, does it work!
On a final note, one must mention the vibrantly colored and beautifully tailored costumes, the awesome lighting (especially as the sun rises over the horizon in the opening scene, and the starry canopy at night), and the sound design that pulls it all together. Happily, the tour incorporates one of the best elements of the Broadway version, as percussionists in the balcony's box seats beat out rhythms on authentic African drums.
