When a theater work has reached the age of 27, producers sometimes find it’s best to “re-imagine” and rebrand the piece, give it some new spin that will renew audience interest. Kind of a 2.0 scenario.
And then there’s “The Lion King.” After spending the summer of 1997 being crafted and polished at Minneapolis’ Orpheum Theatre, it headed off to Broadway to make history as the highest-grossing musical in theater history, the Great White Way’s third-longest run still growing by the day.
Now it’s returned to its place of birth at the Orpheum for a month-long residency. And, if you’re among the million-plus who’ve experienced it, rest assured that the producers have wisely seen no point in re-imagining what is already the most imaginative piece of musical theater ever created. It’s as wow-inducing as ever, overflowing with astounding staging ideas, its high-energy cast delivering the tuneful tale with affection and enthusiasm.
Gerald Ramsey as Mufasa in the North American touring production of “The Lion King,” which is being presented at Minneapolis’ Orpheum Theatre through April 28, 2024. (Matthew Murphy / Disney)
While it keeps the same plot and characters as Disney’s 1994 animated feature (and 2019 remake), Disney brought a genius into its midst with director-designer Julie Taymor. Already known for amazing theater audiences with captivating costuming and puppetry, Taymor decided to take what was basically a European royal succession story set in Africa, and really lean into the African-ness of it.
While Elton John and Tim Rice are listed as principal composers, South Africa’s Lebo M leaves the far more indelible imprint on the stage version with songs and chants in five African languages that transport audiences to a fantastical take on the Serengeti. As do Taymor’s brilliant costumes, masks and puppets, all respectfully rooted in African tradition.
Your immersion in this setting is aided by an ample arsenal of percussion instruments jutting outward from the edge of the proscenium and a menagerie of life-sized animal puppets streaming down the aisles, the actors within and beneath them singing out in uniquely African harmonies. (Don’t be late for the start of either act or you’ll miss the magic.)
They frame the story of Young Simba, who’s very much in the same Disney mold of anthropomorphized animal youth as Bambi and Dumbo. Meanwhile, the Shakespearean-ness of an evil brother seeking the throne is underlined by said sibling having an English accent (while his brother doesn’t). And the comic relief provided by a gaseous warthog and a meerkat seemingly from New Jersey is largely untouched from the film.
Not many touring productions come to town with a cast of 52, but everyone feels essential in this one as they repeatedly exchange one of Taymor’s wildly imaginative costumes for another.
Among the leads making a strong impression on opening night were Julian Villela as a playfully engaging young Simba (he alternates performances with Mason Lawson) and Gerald Ramsey as his believably affectionate father, exuding nobility and athletic grace. Skillfully balancing the comic and creepy is Peter Hargrave’s Scar, while a pair of Nicks (LaMedica and Cordileone) ably carry the comedy as royal assistant Zazu and meerkat sidekick Timon, respectively.
Acting as a welcoming master of ceremonies is Mukelisiwe Goba as the mandrill shaman, Rafiki, who never lets you feel that you’ve strayed too far from Africa. And that’s an essential element to what makes this such a thrilling night at the theater.
Rob Hubbard can be reached at wordhub@yahoo.com.
‘The Lion King’
When: Through April 28
Where: Orpheum Theatre, 910 Hennepin Ave., Minneapolis
Tickets: $199-$39, available at hennepintheatretrust.org
Capsule: The most imaginative of musicals is as exciting as ever.
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