Review: The Lion King

By Wendy Rosenfield

for the Inquirer

Here's a shameful confession: I have been reviewing theater since before my children were born, and not only is the current tour of Disney's The Lion King, which roars into the Academy of Music for a 3 1/2-week run, my first time seeing the show, but my kids have never seen it, either. Now, with yet another tour padding into town, they're too busy, too old, and too trained in the art of watching theater to really enjoy it.

There are many reasons this is the highest-grossing musical ever, at $6 billion and counting.

Its Elton John/Tim Rice score isn't a hit parade, but more often than not, it's surprisingly soulful and stirring, particularly when working within African idioms. (The show's linguistics, which range from eastern to southern Africa, and its zoology, which presents our spiritual guide, Rafiki, as a mandrill, but refers to him as a baboon, are a little trickier, but this is Disney, not PBS). And, of course, it's based on the much-beloved animated film.

Let's be honest: If not for Julie Taymor's visual wizardry, which is as much of a cultural potpourri as those linguistics, Roger Allers and Irene Mecchi's book would merely signal another vaguely mean-spirited, manipulatively adapted tale nipping at the heels of its predecessor, Disney's Beauty and the Beast.

Taymor's vision saves the show, adding depth to the production in a gorgeous array of swirling, galloping, loping puppets and costumes. With each revolution, a wheeled contraption sends a herd of impala leaping forward. It returns later during a drought, its sleek cargo replaced by the antelopes' hurtling skeletons.

An open veld through which young Simba, the lion cub, prances with his father, King Mufasa, provides a gorgeous view for the Academy's balconies, with puppets and a continuously moving line of actors wearing rectangular headpieces holding long grass.

Cast standouts include Tshidi Manye, whose gloriously clear voice makes a highlight of that stoop-shouldered mandrill/baboon Rafiki, and JJ Batteast and Tré Jones alternating in role of the spirited young lion Simba. However, Nia Holloway's adult lioness Nala, Simba's intended, is too whispery and breathy to fill a hall of this size.

All that Taymor ingenuity is certainly wonderful. And Mufasa nemesis Scar (Patrick R. Brown, doing a fine Jeremy Irons impression) delivers an important message: When a creepy uncle says to you, "It'll be our little secret," tell your parents immediately.

But children love problem-solving and critical thinking, and mine have always preferred, say, the Arden Theatre's brand of ambiguity in family theater to Disney's more passive viewing experience. But it sure is nice to look at.

The Lion King

At the Academy of Music, Broad and Locust Streets, through June 14.

Tickets: $28.50-$108.50.

Information: 215-731-3333 or www.KimmelCenter.org