Review: THE LION KING at The Kennedy Center

From the moment Rafiki’s now-iconic acapella first note rang out on Broadway some 20+ years ago, Disney’s THE LION KING has been an unequivocal hit. Having played all over the world by now, it is hard to fathom that there exists someone out there who hasn’t seen the production or the film of the same name. I’m sure there are children and the occasional adult who are just now seeing the show, but, with the film all over streaming platforms and in our collective consciousness since the 1990s, most are familiar with this material. With a well-known title like this, there’s a good chance audiences arrive at the theatre not to be surprised by the production anymore but more so hoping the show lives up to whatever nostalgic memories exist from the first, second, or third time experiencing the story.  

The most recent touring production of THE LION KING, now playing at The Kennedy Center until July 29th, somehow accomplishes both. The story, songs, and characters are well known, timeless, and familiar, of course. What I did not expect was that, after so many years, I would still be captivated by the exquisite puppetry, beautiful costumes, and towering scenery that are still arguably director Julie Taymor’s, and so many others, finest work. I knew what was coming, and I was still in awe of these impressive technical achievements on stage. Judging by the positive reactions of my fellow audience members, I was not alone in these sentiments. It’s a testament to just how groundbreaking the artistry of the show was and still is. The show premiered in 1997 and yet it still inspired the “oos” and “ahs” of nearly all the patrons in the Kennedy Center’s cavernous Opera House this past Friday. 

As many are well aware, the show begins with a bang - in this production, it’s the spectacular vocals of Gugwana Dlamini (Rafiki) who sets the tone with the famous “Nants’ Ingonyama” introduction to the song, “Circle of Life.” From here, it’s a parade of dazzling puppetry complete with elephants, gazelles, rhinos, and countless birds as the massive company floods the stage. We’re introduced to a young cub, known as Simba, and his beaming parents, Mufasa (Gerald Ramsey) and Sarabi (Allison Danielle Semmes). They stand proudly atop Pride Rock as Rafiki presents the future king to the pridelands and the animals gathered below.

Fast forwarding through time, we see the young cub, Simba (a role shared by Jackson Hayes and Mason Lawson), barreling recklessly through his adolescence alongside his friend and playmate, Nala (played by Jaxyn Damasco and Aniya Simone). Being next in line to lead, Simba is kept under the close, watchful eye of a nebbish bird named Zazu (Nick LaMedica). Loyal to Mufasa and the crown, Zazu does his best to keep the cubs on the straight and narrow but hilariously fails often. 

Simba’s eagerness to become king, and more importantly make his own rules, is sung through the bouncy hit “I Just Can’t Wait to Be King.” This adventurous, but sometimes reckless, nature  gets Simba into trouble often, and his power hungry Uncle Scar (Peter Hargrave) takes notice. With aspirations of his own and hoping to seize an opportunity, Scar tricks Young Simba and Nala into wandering to a dangerous elephant graveyard, which leads them straight into trouble and a pack of hyenas. Shenzi (Martina Sykes), Banzai (Forest VanDyke), and Ed (Robbie Swift) have orders to eliminate the young cubs but fall short of their duty as Simba and Nala are saved by Mufasa. 

Not to be deterred by a setback, Scar regroups and hatches another even more nefarious plan. It’s well known what happens next, but I’ll hold back spoilers for the three of you who’ve yet to experience the show (or the source material, Hamlet, for that matter). Having run away from home and now separated from the pride, Simba meets Timon (Nick Cordileone) and Pumbaa (John E. Brady), and the years pass as Simba becomes a fully grown lion (Darian Sanders) in the jungle alongside his new pals.

Assumed dead after so many years by the rest of the pride, it’s a now-adult Nala (Khalifa White) who discovers the truth. She’s relieved to find Simba alive, but there’s work to be done. She tells Simba that Scar, now with no heir to the throne ahead of him, has stolen the crown much to the dismay of the pride. Drought, famine, and an alliance with the hyenas spell devastation for the lions, and Nala pleads for Simba to return home and assume his rightful throne. Determined to avenge his father’s death, Simba returns to confront his wicked uncle and triumphs. The dark cloud is lifted from the pride as Simba reunites with his family and becomes king with Nala alongside as his queen. 

The excellent material is complemented beautifully by a stellar cast. Though several leading players will be mentioned in the remainder of this review, it’s the ensemble that does the literal and figurative heavy-lifting in a piece like this. It truly is an ensemble-driven show as these performers are asked to bring the colorful pageantry of the show to life on stage and play a dizzying number of different roles throughout. One doesn’t see companies and ensembles of this size much anymore as Broadway trends towards a shrinking number of players per show, so it’s refreshing to see a flood of talented storytellers performing their craft skillfully. For those curious, there is a helpful “Specialties” section in the program which identifies the specific ensemble member and their respective feature in the show. 

Beyond this terrific ensemble, there are several notable performances from the leading and supporting players. Gugwana Dlamini as Rafiki is a warm and welcoming presence in the opening number and weaves throughout the story nimbly as the show’s narrator. Gerald Ramsey’s rich, baritone voice brings the timbre necessary for a commanding Mufasa, and he has the physical presence and acting chops to capture the many facets of the character as well. He’s complemented by Allison Danielle Semmes’ Sarabi, though this role has seemingly been shrunk down from the film. As Zazu, Nick LaMedica is terrific and displays skillful puppetry to accent his comedic moments. However, it’s the exceptional duo of Nick Cordileone (Timon) and John E. Brady (Pumbaa) that take the top prize for comedic relief. They rival the animated duo from the film with a more modern flair that delights and hits all the right notes. 

No good tale is complete without a villain, and luckily, we’ve got several performers up to the task. Martina Sykes, Forest VanDyke, and Robbie Swift not only showcase their excellent vocals in the hyenas’ feature, “Chow Down,” but they’re all experts in using their puppets to enhance the story and not distract from it. Their performances as Shenzi, Banzai, and Ed, respectively, are something to behold and a real treat. As their leader, Scar, Peter Hargrave gives a fine performance as the power-hungry, jealous uncle. 

Surrounded by a plethora of talent, Darian Sanders as Simba does seem to be a step behind his colleagues. Though he is phenomenal at capturing the youthful energy of the adult Simba, it’s the quieter moments he struggles with. His energy is infectious but perhaps not appropriate for softer moments like “Can You Feel the Love Tonight,” where his scene partner Khalifa White (as Adult Nala) is nothing short of outstanding. White’s Nala is passionate and strong as she skillfully showcases the delicate balance between the highs and lows of the piece. Though the energy is perhaps mismatched between Sanders and White, there’s enough happening between the beautiful scenery, costumes, and jaw-dropping ensemble dance breaks that much is forgiven. 

Audiences will surely not be disappointed with this most recent production of Disney’s THE LION KING. It’s a timeless classic that still hits all the right notes with its story of family, love, loyalty, and so much more. The show runs most evenings and even a few afternoons from now until July 29th at the Kennedy Center Opera House.

The Lion King has music and lyrics by Elton John and Tim Rice. Additional music and lyrics are by Lebo M, Mark Mancina, Jay Rifkin, Julie Taymor, and Hans Zimmer. The book is by Roger Allers and Irene Mecchi. The production was directed by Julie Taymor who is also credited with the show’s costume, mask, and puppet design (alongside Michael Curry). Other members of the creative team include Garth Fagan (Choreography), Richard Hudson (Scenic Design), Donald Holder (Lighting Design), Steve Canyon Kennedy (Sound Design), Karl Shymanovitz (Music Director), Anthony Lyn (Associate Director), and Marey Griffith (Associate Choreographer). 

THE LION KING is approximately 2 hours and 30 minutes with one intermission

Photo Credit: Gugwana Dlamini as Rafiki. The Lion King, North American Tour ©Disney. Photo by Joan Marcus.

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