Review: DISNEY THE LION KING JR at Arts & Science Center For Southeast Arkansas in Pine Bluff
This production roars for one weekend only.
I don’t know why The Lion King evokes such powerful emotions in me, but every time that opening chant begins and the world of the Pride Lands comes to life, something in my heart completely surrenders. That emotional pull was undeniable at the Arts & Science Center for Southeast Arkansas, where DISNEY’S THE LION KING JR. ran March 12–15. Under the direction of Emily Burris, this beloved coming-of-age tale was a dazzling theatrical event that showcased the young local talent of Pine Bluff. Featuring music and lyrics by Elton John and Tim Rice and a book by Roger Allers and Irene Mecchi, the junior adaptation retains the emotional power and pageantry of the Broadway phenomenon while making it perfectly suited for a young ensemble, and this cast rose to the challenge magnificently.
Set on the sun-drenched African savanna, the story follows young lion prince Simba as he navigates loss, responsibility, friendship, and ultimately his destiny as king. After the tragic death of his father Mufasa, Simba flees his homeland, believing himself to blame. Along the way, he finds an unlikely family in Timon and Pumbaa, but must eventually confront his past and reclaim his rightful place in the Circle of Life.
Director Emily Burris guided the production with a clear affection for both the material and the performers. Rather than simply presenting a children’s show, she crafted a fully realized theatrical experience that balanced spectacle with sincere storytelling. The emotional beats landed, the humor sparkled, and the ensemble work created a sense of community that felt entirely in the spirit of the show’s themes.
Leading the story as Rafiki, Avery Marie Martin served as both narrator and spiritual guide with poise well beyond her years. Her stage presence anchored the production, and her vocals carried warmth and authority, drawing the audience into the world from the very first moments. Jayvion Williams brought strength and dignity to Mufasa, embodying the noble king with a commanding voice and gentle paternal energy that made his relationship with Simba deeply affecting. As Sarabi, Ja’Maya White projected quiet resilience and grace, offering a portrayal of a mother holding her pride together through tragedy.
Braylon West delivered a delightful turn as Zazu, capturing the fussy royal advisor’s humor with crisp timing and expressive physicality. In delicious contrast, Brandt Lunsford’s Scar slinked across the stage with menacing charisma, relishing every villainous moment while maintaining a clear sense of danger beneath the charm.
The young cubs were irresistibly endearing. Addie Ashcraft’s Young Simba radiated confidence and curiosity, making his joyful numbers sparkle, while Hazel Thompson’s Young Nala matched that energy with sass, strength, and a bright, confident voice. As Sarafina, Ah’Rianna Neal provided a warm maternal presence that helped ground the early Pride Lands scenes.
Getting some of the biggest laughs of the evening was the hyena trio, whose comic chemistry was absolutely electric. Allison Carraway as Shenzi led the pack with fierce attitude and razor-sharp timing, while Rory Earnest-Lake’s Banzai and Noah Hare’s Ed leaned fully into their goofy comedy, delivering exaggerated reactions, mischievous antics, and perfectly timed chaos. Together, they turned every appearance into a scene-stealing moment, keeping the audience giggling even in the show’s darker sequences.
The beloved jungle duo was in excellent hands with Olivia Thompson as Timon and Violet Jennings as Pumbaa. Thompson’s quick wit and animated delivery made Timon irresistibly cheeky, while Jennings’ sweet-natured Pumbaa balanced the pair with lovable sincerity. Together, they captured the heart of “Hakuna Matata,” turning it into one of the show’s biggest crowd-pleasing moments.
As the grown Simba, Joven Hamlet carried the weight of the story with emotional sincerity, portraying the character’s journey from guilt to courage in a way that felt authentic and relatable. Opposite him, Lily Jennings’ Nala was fierce, compassionate, and vocally strong, providing both romantic chemistry and a powerful reminder of the responsibility awaiting him back home.
A major visual triumph of the production was the outstanding costume design by Kayla Earnest. Rather than attempting literal animal replicas, Earnest embraced the signature theatrical style that makes The Lion King so magical, suggesting each creature through color, texture, and silhouette while allowing the young performers’ faces and expressions to remain front and center. Flowing fabrics, bold patterns, and thoughtfully crafted headpieces transformed the stage into a living savanna, with each group of animals instantly recognizable yet artistically stylized. From the regal elegance of the royal lions to the scrappy edge of the hyenas and the playful charm of the jungle inhabitants, the costumes enhanced characterization while remaining practical for movement and choreography. It was a design that balanced imagination with functionality, resulting in visuals that were both beautiful and stage-smart.
Choreographer Grace McKissic filled the stage with movement that was energetic and purposeful. From the regal processional of “Circle of Life” to the playful antics of the jungle scenes, every number pulsed with life. The choreography made excellent use of the performers’ strengths, creating vivid stage pictures that evoked herds, flocks, and the bustling ecosystem of the Pride Lands.
Music Director Melody Gere deserves enormous praise for preparing the young cast to deliver such a confident and full-bodied vocal performance. The score, filled with iconic songs like “I Just Can’t Wait to Be King,” “Hakuna Matata,” and “Can You Feel the Love Tonight”, was performed with enthusiasm, and surprising musical maturity.
Behind the scenes, Stage Manager Jeran Collie ensured the production ran smoothly, coordinating the many moving pieces required for a show of this scale. From costume changes to entrances to technical cues, everything flowed seamlessly, which is no small feat for a youth production packed with action and quick transitions.
Having attended the final performance on Sunday, I witnessed a moment that perfectly encapsulated what makes youth theatre so special. As the curtain call began, emotions overflowed and many of the cast members were visibly in tears, which is a raw, beautiful testament to the bonds formed during the production process. These weren’t just performers taking a bow; they were young artists saying goodbye to a shared journey that had clearly meant the world to them. The audience responded with warmth and thunderous applause, creating a deeply moving exchange of gratitude between stage and seats.
Youth theatre at its best does more than entertain, it builds confidence, teamwork, and artistic passion, and this production was a shining example of that mission in action. The Arts & Science Center for Southeast Arkansas continues to be a vital hub for arts education and performance in Pine Bluff, and shows like this demonstrate the remarkable talent growing within the community.
Up next for the musical stage is SHREK THE MUSICAL in July, directed by my friend Bethany Gere. This will have parts for all ages, so if you would like to join the fun, visit their website at artx3.org.
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