MUSICAL THEATRE REVIEW:
THE LION KING
21 APR/11

JOHN COULBOURN, QMI Agency
Rating: 4 out of 5


TORONTO - More than a decade after it premièred, THE LION KING remains the unassailable benchmark by which much of the artistry of contemporary theatre is to be measured. Pound for pound, there is more pure theatrical magic in the first 10 minutes of this show than most shows manage to pull out of the hat with hours at their disposal. And even somewhat pared down for the road as it is, THE LION KING production that’s moved into the Princess of Wales Theatre (where it opened Wednesday) proves that this show is an enduring showcase for the genius of director/designer Julie Taymor and her theatrical collaborators.

Bolstered by the music of Elton John and Tim Rice (with memorable assists, it should be pointed out, from a creative roster that includes Lebo M, Mark Mancina, Jay Rifkin and Hans Zimmer), Taymor has created a staging that is a multi-layered wonder, combining as it does theatre techniques that are as old as time with the very latest in technology to take her audience on the theatrical trip of a lifetime.

In the process, she seems to suggest there is nothing in this world (or out of it) that is beyond the reach of a true theatrical visionary — a suggestion now touched with piquant irony in the wake of Taymor’s colourful (dis)association with the problem-plagued money machine that is Spider Man — Turn Off the Dark. But judging from Broadway reports preceding its oft-delayed opening night, the problem with Spidey might have been that Taymor was trying to tell too much of a story.

Whereas in this show, she is working with a story that runs, if anything, a trifle thin — a theatrical mash-up blending a lot of Bambi with a bit of the Bard and a dash of burlesque — all with the sole purpose, it seems, of imprinting impressionable young minds with the notion that you’re either a lion, or you’re lunch.

It is, in short, the story of lion cub Simba — played as a youth by Jerome Stephens, Jr. and as a young adult by Adam Jacobs — who becomes collateral damage when his conniving Uncle Scar (J. Anthony Crane) hatches a nefarious scheme to murder Mufasa (Dionne Randolph) the reigning king of the beasts (and Simba’s father) and usurp his throne on pride rock. Cast out and driven into the wilderness, young Simba is befriended by a wisecracking meerkat (Nick Cordileone) and a flatulent wart hog (Ben Lipitz), who grub him through to adulthood so he can return to the Pridelands and reclaim his birthright.

To illuminate her admittedly shopworn story, Taymor uses a potent blend of theatrical magic that transforms the theatre into a savannah that fairly pulsates with life, underscoring the work of designers like Richard Hudson (sets) and Donald Holder (lights) with impressive choreography from Garth Fagan and a cast that is nothing short of top drawer. Led by the very impressive Brenda Mhlongo as the simian wise woman Rafiki, there’s memorable work from Tony Freeman as the bird-brained Zazu and from Lipitz and Randolph as well.

But finally, THE LION KING’s most moving and memorable moments are when Taymor throws the entirety of her whole hugely talented ensemble at the stage and works her magic with them, creating theatrical moments that are certain to put a lump in your throat, a tear in your eye and something just shy of awe in your heart. Despite its storyline shortcoming, this is the show that proves that when it comes to turning on a theatrical light in the heart of an audience, Taymor is capable of accomplishing something far more enduring than merely turning off the dark.