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PERFORMANCES AND PRESENTATIONS
The Lion King
At Wharton Cente
-- reviewed by
Courtney Bowerman
Lion doesn't sleep, it roars
There was an article in the Lansing State Journal saying
that the Wharton Center’s run of The Lion King was now “the
hottest non-Wicked musical in America.” And considering
the performance I just saw, it’s easy to see why.
I had to wait until the second-to-last weekend to see it, but
believe me, it was worth it.
Let’s face it: even if it didn’t
get an Academy Award nomination, The Lion King may be the
best animated feature Disney has ever made. It’s theme of the “circle
of life” indeed
moves us all, along with its representation of fathers and sons.
One would think that a cartoon about animals would be difficult
to transition to a Broadway musical, yet it has been done wonderfully.
I
won’t waste time with the plot, since almost everybody knows
what happens in the movie—instead, I’ll just move right
to what makes this musical so great, starting with the costumes.
The cast mainly uses a combination of masks, makeup, and what
appears to be traditional wear from African tribes to represent the
many different animals. The leonine masks are especially interesting
because they sometimes come down over the actor’s face, particularly
when two of them are about to fight. Other actors, such as the ones
that play Zazu and Timon, use puppets that they control with body
and/or facial movements. It’s all very fascinating to watch.
The
choreography is very good. Most of the battle scenes use interpretive
dance to show what was going on, and it’s very effective. The
special effects and lighting effectively emphasize dramatic
moments like the wildebeest stampede or when the lionesses are
hunting.
I
recall a certain review of The Lion King stated that the
musical wasn’t particularly inspiration (though good). Don’t
believe it; it is impossible not to be moved by the music. In
addition to old favorites like “Circle of Life,” “Hakuna
Matata,” and “Can
You Feel the Love Tonight,” there have been other songs written
to give more depth to the story. A few notable ones include “Endless
Night,” a lament sung by the adult Simba, and “Shadowland,” in
which Nala bids farewell to her family.
Finally, the performances
by the actors are spectacular. In a cast of completely excellent
performers, a few people manage to stand out on their own. Phildile
Mkhize was wonderful as Rafiki; she had the audience hooked the
moment she started singing the powerful invocation of “Circle
of Life.” Dan Donahue is perfectly creepy and sardonic as Scar,
and Thomas Corey Robinson embodies the fierce yet fatherly Mufasa.
The child-versions of Simba and Nala showed a lot of potential
with talented singing their hyperactive movements. The hyenas were
almost as funny as—if not more than—Timon and Pumbaa.
So
if you are going to see the show sometime during the next
week or so, you’re in for a real treat. If you don’t have tickets,
my advice is to hunt some down—even though it’s pretty much
sold out—or go to whatever city it will be playing next. Trust
me, it is worth the effort. One can only hope that Disney’s
next musical in the works, Tarzan, will be just as successful.
If not, there’s still The Little Mermaid or Aladdin to
look forward to.
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