Nants ingonyama bagithi Baba Sithi uhm ingonyama!
Oh yes, we’re going to learn Swahili!
What else could it be but Disney’s The Lion King. Hosted by Bradford Alhambra on it’s first UK tour, the show never fails to disappoint.
From the opening chord of The Circle of Life we know something magical is happening. Rams appear by the side of the stage. Then, suddenly, the house doors open, and in swings (not even joking) an Elephant. A full sized Elephant. He stomps his way down the aisle and climbs on to the stage. A woman in a skin tight cat-suit (no pun intended) with a Leopard fixed to her front, manipulates her big cat with sticks, walking as gracefully as the real animal. Beautiful women, adorned with white dresses and birds along their arms almost float through the audience. A Zebra struts past, a Giraffe hobbles behind the animals, bowing its long head. Men with Antelopes for arms leap from the wings as the sun rises behind the rotating Pride Rock. Zazu, King Mufasa’s faithful companion swings through the audience on a hand held wire, circling the animals.
No picture I can paint of this scene will ever be vivid or colourful enough to convey, truly what a magnificent spectacle befell our eyes. The Bloke and I were extremely lucky, having booked the day before and landing front row seats, and honestly – despite having seen the show before, we were both welling up with pure emotion. The scene itself, with all the animals of the Pride Lands gathering to celebrate the birth of baby Simba (expertly played here, by a lion shaped contraption with moving limbs) was possibly one of the most emotional I’ve seen on stage.
I think banging on about the chorus is going to be the theme of many of my musical theatre reviews. These people honestly don’t get enough praise. They play more parts than seems physically possible, they change their costumes in a heartbeat and they pour their souls into truly making a show what it is. I think all musicals would fall down without their faithful chorus members, who politely sway in the background and submissively attempt not to draw attention to themselves – well, in every show but the Lion King. Hell, these guys even played grass. That’s right, grass. (See image of dudes with grass on heads)
From the animals in the introduction, to the grass, to the hyena army (including the blokes with no shirts), to stick-held Pumbaas and Nalas and hunting lionesses, these highly talented and agile all-singing, all-dancing marvels are stars with enormous futures ahead of them.
Ok, let’s talk about little Simba. Due to the number of young men playing our hero for the first act, I don’t know which one of them played him. (It’s normal for children playing lead roles to take turns, this stops them being exhausted by the long runs on tour). That aside, he was a plucky, energetic little thing! He could have used a little direction in the way of his dialogue, I found he was pausing in the wrong places and speaking just a little too quickly; although he was using a microphone (I despise microphones – our theatre group doesn’t use them. At all. Ever.) his words were often missed. I don’t want to be too harsh because he’s only young and he sang terrifically during I just can’t wait to be king. But, with some more practice, I’m sure he’ll soon crack it. I also noticed (because I’m a little pernickety) that his accent kept slipping from his lovely British accent, to a ghastly pseudo-Hollywood accent – maybe he’d seen the film too many times… He has a great deal of potential – I just wish I knew the poor lad’s name!
Nala too, was very good for her age – again I don’t know the young lady’s name due to the number of people playing her. I thought she conveyed a little too much… what do you kids call it these days? “Attitude” (pronounced ‘a-i-chood’) it’s any wonder she didn’t start cocking her head and clicking her fingers! It worked though, in a strange ‘the-lion-king-is-down-with-the-kids’ way. That all said, I enjoyed her performance, she and Simba had lovely on-stage chemistry and worked really well together, which is rare for a male and female their age! We used to think that boys were diseased when I was a nipper…
Now for the show stealer. Not Scar, I’m coming to him later. Zazu.
A Welshman, sticking to a script written for a Scotsman, with a puppet who looks like Rowan Atkinson’s lost twin isn’t everyone’s idea of Zazu – then again, neither is a man in a bowler hat – but we had both! Meilyr Sion was the comically played bird. He was fantastic, The Bloke and I have never laughed so hard than when he broke into The Proclaimers when entertaining Scar, or while he was screaming “Nooo, dunne send me back to Glasgoooow!” or even during I just can’t wait to be king – “This dinne happen in the cartoon!” I honestly cannot describe what made him so wonderful. But he was a winner for me!
Mufasa… well, what do I say about him. Naturally, I was disappointed that he wasn’t James Earl Jones – although that was impossible. I didn’t feel that he had enough, if any depth. Even at the grand old age of 24, if I watch the film, Mufasa’s death leaves me in tears hugging the cat promising that she’ll never die. On stage, his visible harness-wire, floating to the floor death left me cold – and not the goosebump kind, just… I didn’t care. Don’t get me wrong, Cleveland Cathnott is surely a very talented actor, but I’m not altogether sure that this was the role for him. His headdress was fantastic though!
The most famous and over-played song from The Lion King originated with two of the best-loved characters in Disney history. Oh yes, Timon and Pumbaa.
Now, don’t ask me why Timon is green. I haven’t the slightest idea. I found myself wondering if it’s because they thought there’d be a green screen or something when the concept was founded. Or maybe it’s so he blended into their tropical oasis of a home, complete with inflatable cacti. Whatever the reason, it was distracting as hell. John Hasler did a lovely job though as the wise talking, river dancing Meercat, even if he was green head to toe. Perhaps he’s hoping someone spots him and casts him in Wicked?
Lee Ormsby was fantastic as Pumbaa, even while wearing what must have been a ton of Warthog shaped scaffolding. Vocally, too, he sounded just like Ernie Sabella, who voiced the character in the film. Together, they brought the house down with Hakuna Matata which, for those that don’t know, really does mean ‘no worries’!
Then, just before the end of the first act, as the cast sway off stage for their final chord of Hakuna Matata grown-up Simba swings onto the stage from a strategically placed rope to finish the song as a grown up Lion with his very own headdress.
Nicholas Nkuna was outstanding. Although his South African accent made line delivery a little too quick, his facial expressions and agility certainly made up for it.
He worked well with Nala, played by Ava Brennan. She had a tendency to be a little bit shouty, particularly through shadowland which, to be fair is an incredibly powerful song.
Gugwana Dlamini was fabulous – honestly fabulous as the crazy, yet incredibly wise Rafiki (yes, Rafiki, she know de way!) Her random little snippets of stage appearances were and absolute delight. She obviously very, very much enjoyed her role.
Scar.
Don’t let the epic make up fool you. Whoever turned the most kick-ass Disney villain into a snivelling wretch accompanied by the stench of self pity needs a kick. Scar was once a scheming, bitter Lion with a L’oréal mane. He had the best villain song, he had an army of Hyena, he wasn’t to be messed with – in fact, I think he was the only Disney villain to form an evil plan and then instead of messing about and singing a few songs about it, he sang a song about how awesome he is then just got on with it, hissing in Mufasa’s ear “long live the king…”. On stage, I think a light breeze would have blown him over. Stephen Carlisle, who played the overly depressed, wishy-washy excuse for a baddy must have enjoyed doing the show once, or he wouldn’t still be doing it, however, either he’s lost his mojo for the character or he was given some terrible direction. He even ruined Be Prepared. I’m loathed to blame the acoustics for a barely audible performance, sapped of all enthusiasm and energy. The Madness of King Scar was barely even sung, mostly performed in dialogue. It ruined it – he didn’t even try forcing expression into his voice. He was lifeless. I was glad to see the Hyena eat him – because he was a rubbish bad guy – I’m usually rooting for the baddies. Akin to Scar, I couldn’t muster the energy.
Even the Hyena were better than Scar! Chow down, omitted from the film remains one of my favourite songs from the show. It had everything, guitars, screaming Lion cubs and three nutty Hyena!
Daniel Norford, Me’sha Bryan and Philip Oakland were the life and soul of all their scenes. I suppose they had to be, since Scar barely bothered turning up. They were the perfect contrast with his moody, sulky, half asleep attitude and worked so well together, they may as well have been the same actor. Loved them, won’t hear a word against them.
All my moaning done – should you wish to go see it after reading about me being mad at Scar, do go see it. The costumes, the music and the FABULOUS chorus make up for all the mistakes, all the casting errors and honestly, it really does take you back to your childhood. The show is perfect for kids, so take some of those too if you don’t want to look sad!
That’s me for now!
Manda
Theatre Crazy 