Disney’s The Lion King - Theatrical Perfection

Disney's The Lion King, playing at the Durham Performing Arts Center through January 30, is theatrical storytelling at its most spectacular. Take a familiar father/son story that borrows heavily from Shakespeare, the Greeks, and the Bible. Add incredible, near unimaginable, artistry – puppets, masks, glorious costumes and scenery. Mix in a heavy dose of humor and catchy, familiar music. Throw in African traditions and some Asian influences and you have one of the finest and most collaborative pieces of popular theatre that has ever graced the stage. Consider also that this beautiful production was inspired by an incredibly successful 1994 animated movie, yet it stands completely on its own as a theatrical masterpiece.

While I watched this breathtaking event last night, I tried to decide what thrilled me most.  Was it the way the puppets and dancers brought life to the audience as they encircled us with their grand entrance?  Was it the way the ensemble dancers lulled us with their flawlessly choreographed sway? As the story unfolded, I thought it might be the masterfully crafted scenery, often portrayed by performers as a living landscape , or remarkable costumes that were both elegant and tribal?  But, I finally decided that the mask work and puppetry really drive this production to its incredible heights. How do they make inanimate objects show love, hate, desire, distrust, trust and reconciliation?  

Director Julie Taymor and Michael Curry created hundreds of fantastical masks and puppets for the production, but it's not simply the artistry of a mask that portrays an emotion. Each actor of this large ensemble is fully committed to telling the story. Each of the over 200 puppets have been mastered by their handlers.  Every movement and gesture has been rehearsed to perfection. Scar, the rather nefarious antagonist played with perfectly evil glee by J. Anthony Crane, is somehow able to shift his mask into various positions with the turn of his head. Zazu, portrayed with great sycophancy by Tony Freeman, is masterful with his puppet as are both Nick Cordileone, as the quick-witted Timon, and Ben Lipitz, as the dim-witted Pumbaa. The entire ensemble is graceful and beautiful.

It's no wonder that The Lion King won six Tony awards in 1998, including Best Musical, or that director Julie Taymor became the first woman in Broadway history to win a Tony Award for Best Direction of a Musical. She, along with her collaborators, has taken on the impossible. Taymor takes a much loved animated musical and turns it into something both familiar and completely unique. The collaboration and creativity is visceral.  This is the meaning of theater, granted on a large and commercial scale.

The book, adapted by Roger Allers, who co-directed the animated film and Irene Mecchi, who co-wrote the original screenplay is charming, moving, funny, and economical. The score includes many of the original Elton John and Tim Rice songs from the movie and includes several new songs by John and Rice. During intermission I heard dozens of people, young and old, humming, or outright singing, "Hakuna Matata". Additional music was provided by Hans Zimmer, Julie Taymor, Jay Rifkin, Mark Mancina, and South African Lebo M. Overall the effect is breathtaking. The choreography by Garth Fagan is a wonderful mix of traditional African dance and modern movements.  The scenic design by Richard Hudson is a remarkable achievement. The costumes, also by Taymor, are no less than brilliant and the lighting design by Donald Holder is spectacular.
 
The Lion King is a perfect theatrical treat that should be shared with the entire family. If you've seen it before it's time to go again. If you've never seen The Lion King, take this opportunity, you won't be dissapointed. The Lion King is a theatrical experience not to be missed.

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