Broadway’s ‘The Lion King’ featured intricate puppets and costumes. Ensemble dancers marched across the stage with grass hats. Kellen Stancil operated a giraffe puppet on stilts. Aisha Mitchell’s large, wooden cheetah extended from her chest. The actors communicated a story about African ecosystems.
The show followed Disney’s classic story. Young Simba dreamt of kinghood. His father, Mufasa, ruled the Pride Lands. The power-hungry uncle, Scar, led Simba to an elephant graveyard. However, Mufasa rescued Simba. Scar developed a dastardly plan: to kill Mufasa. After this unfortunate incident, young Simba adventured far from the Pride Lands. He vowed never to return.
Simba met funny and familiar characters. Warthog Pumbaa and meerkat Timon sang the fan-favorite ‘Hakuna Matata’ song. They preached about a stress-free life philosophy. Simba matures with the hilarious pair. He encountered an old friend named Nala. She convinced him to return to the Pride Lands. In ‘King of Pride Rock,’ Simba triumphantly stood on the cliff. The production displayed warm-tone aesthetics.
In the opening scene, a vibrant sun hung down. On a stilted giraffe, Stacil strolled by. Through slow and graceful movements, he embodied the giraffe’s movement. The beige tone matched the yellow backdrop.
In contrast, puppeteers wore cheetah puppets around their waists. The performers showcased the wild cat’s quick and careful nature. The cheetahs took a different shape: slender and horizontal. Through blacklight puppetry, viewers saw how wild cats hunted.
Early on, Mufasa said that every creature played an important role. In spotlights, viewers saw a cheetah chase after its prey. The large cat cautiously stepped to stay hidden. The prey did not see the cat until it pounced. The musical repeated the same motif later. Pumbaa and Timon face a hungry lion. On a sheet, warthog and meerkat puppets ran from a lion. A second lion enters the picture and fights off the first. Through puppetry, the show taught vital lessons.
In Act Two, Scar rules the Pride Lands. In a spotlight, one blacklight lion chased after a female lion puppet. In the song, ‘Be Prepared,’ Scar revealed his desire for a wife. The female lion puppet pushed the other away. Actor Pearl Khwezi asserted herself and confidently said “no.” This taught young audiences an important lesson about respect. The Broadway production featured talented young actors.
In Saturday’s matinee, Dylin Rodrigo played Young Simba. He portrayed a mischievous and curious lion. His bright smile and tenor vocals lit up the theatre. To show naivety, Rodrigo did not wear a lion hat. Jillian Paige Platero performed as Young Nala. She depicted a sassy and confident lion. She mirrored Rodrigo’s high energy. Through puppetry, Zazu displayed similar, enjoyable traits.
Actor Cameron Pow portrayed the hilarious bird with a wooden puppet. Through rods attached to the wings, Zazu appeared to fly. In Act One, young Simba and Nala venture beyond the Pride Lands. Zazu accompanies them. Young Simba throws the wooden bird backstage. In response, Pow pated his body with an exasperated expression. He ran backstage and the audience chuckled. The puppets allowed for a quick and comedic costume change.
In Act Two, Simba wants to reclaim the Pride Lands’ throne. After all, he has a right to the throne. He enlists the help of Timon and Pumbaa. When they near Pride Rock, the lion reveals his plan: Timon will become live bait.
The meerkat sarcastically asked if he should do the Charleston. Slowly, he marched onto the prairie. In the blink of an eye, Timon wore the 1920s feather hat and a pink sparkly dress. With a funny jig, he encouraged the lions to eat him. Puppets contributed to serious moments as well.
A stampede of wildebeests trampled Mufasa. In the backdrop, shaded lines represented hills. Animal silhouettes on strings depicted the charge. The audience saw endless creatures running down.
After, young Simba lay beside Mufasa. Repeatedly, he asks “Dad?” The large, wooden sun beat down. It cast an intense, amber glow on the heartbreaking scene. Through blacklight puppets, the production conveyed the ecosystem’s importance.
After the bows, Rodrigo and Platero stepped forward. Through merchandise, they raised money for Broadway Cares and Equity Fight Aids. Platero held up an autographed Lion King poster. Rodrigo offered South African hand-beaded giraffes. Proceeds would go towards Aids research in Africa.
