Interview: Heather Headley Looks Back on 30 Years of THE LION KING

Since its debut as an animated film in 1994, The Lion King has become something infinitely greater than just one film. Three years after the film's success, the musical adaptation premiered on Broadway at the New Amsterdam Theater, beginning an unprecedented run of a show that has gone on to become the highest-grossing Broadway production of all time. The film also spawned two sequels, two spin-off series, and two live-action remakes, the latest of which included new songs from Lin-Manuel Miranda.

To celebrate 30 years of its rich musical legacy, cast members from the various parts of the franchise came together at the historical Hollywood Bowl in 2024. Among the performers included Nathan Lane, Jeremy Irons, Billy Eichner, and stage musical alums Bradley Gibson and Heather Headley.

Headley originated the role of Nala in the Broadway production and also went on to win a Tony Award for Aida, another Disney/Elton John collaboration. Now that the starry concert is available to watch on Disney+, BroadwayWorld sat down with Headley to discuss taking part in the event, the ongoing Broadway production of The Lion King, and the legacy of the franchise.

This interview has been condensed for clarity and length.

This concert is about looking back at the legacy and impact of the film and show. I’m curious how your personal relationship with The Lion King franchise has changed and evolved over time, from those early days as Nala to now?

I find myself not being able to call it a franchise because I think it's so much bigger than that now, and through it, my life has changed. If I could just speak to that girl doing The Lion King 27 years ago, and tell her "You're going to be in shock at the fact that this show is still a big hit on Broadway and one day you're going to take your children to see it." At the time I knew it was going to be a big deal, but I didn't know how big of a deal it was going to be.

As one of the original Broadway company members, I've gone from playing Nala to being part of the senior class. Going to the show now is kind of like watching the freshmen class. The weirdest part is seeing them do things now that we did at the time- 25+ years later, they still do it. It was a beautiful ride while I was in the show, and it's been a beautiful legacy to watch since then, and seeing how the show has evolved and all these people that have come from it.

When you first played Nala, did you have a specific backstory or perspective that helped you develop her in your mind? 

Our director, Julie Taymor, had very specific thoughts about who and what Nala was- not only as a director but as a woman. I think at the time I didn't see it fully yet but after I did, because Julie saw her as what she is: The Lion Queen. Julie saw her as this catalyst to bring this young man back and wanted to instill in her all the strength that we could because she literally moves everything. It's all because of her.

Sometimes we just see the story as an animation, but when you look at it, there's such great depth. Just the fact that she says, "I am not going to stay here anymore" and she journeys out by herself. That to me, is such strength and beauty.

I’d love to hear about the rehearsal process for the concert and working behind-the-scenes with other people from the franchise.

I hadn't seen Nathan Lane in quite some time, and it was so fun to see him. He and I did Do Re Mi together, which was my first Encores! show. It was before Aida and was kind of like my solo introduction to the world. I think he and Ernie Sabella had never done Hakuna Matata in the same room with their Simba, Jason Weaver, and so it was great to see that happen. On Broadway, we have this muscle memory and, even though you haven't done something for years, your voice and body remember. 

And 30 years later, Jeremy Irons still instills this little bit of fear in you. I once told Thomas Schumacher that for just one performance, I wanted to play Scar. I always thought he was the best bad guy!

When I sing Shadowland now, I don't have the lionesses behind me and so I did not know that would be happening for this. I remember walking on the stage and seeing them all bending forward in their masks for their part of the song and I got a little teary. It was just filled with nostalgia and emotion and sent me all the way back to that. It was a good night. 

I know your fans would love to see you back on Broadway. Do you have any plans or projects that could potentially bring you back to the stage?

I am always looking for something. The last time was Into the Woods and I've made it very well known that I had been running from Sondheim for most of my life because I always thought it was too hard. But it was a beautiful experience for me to do it and that's the kind of thing that I'm looking for.

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