IS AT THE ALHAMBRA - REVIEW BY LIZ COGGINS

The Lion King is loosely based on Shakespeare’s Hamlet with some biblical overtones echoing the Old Testament stories of Joseph and Moses but set in the Pride Lands of Africa with the human roles of these stories cast as African animals.

The moving and powerful story follows the life lessons of Simba, a wide-eyed lion cub, as he comes of age and takes the journey to his destined role as King of the Pridelands

The Lion King opened on Broadway in 1997 and then in London in 1999 and fast became a must see with audiences, picking up dozens of awards. Its touring versions have criss-crossed the world and it has grossed more than any film, play, musical or any other entertainment

The secret of its successful transition from film to stage definitely rests with its   Director Julie Taymoor. She simply just didn’t put the film on stage she used new songs, new story-telling, new scenes and costumes, masks, puppets, mime, dance to evoke the images of the film.

The opening scene says it all and within seconds you know you are witnessing a spectacular, brilliant piece of musical theatre excellence. The magic of the Serengeti Plains opens up  with Elton John, Tim Rice,  Hans Zimmer and Lebo M’s Circle of Life and Nants Ingonyama as animals descend on the stage from every direction and the magic begins.

This is only the second tour in 20 years for The Lion King in the UK and in today’s economic climate, where many musicals are paired back for touring, this is certainly  not the case with Disney’s Lion King. It is bigger and better, brighter and lighter and more colourful than ever.

It has a truly international cast which gives it great power and adds another dimension to Garth Fagan’s choreography. The technical aspect of The Lion King is full of spectacular effects that are mind blowing yet at times beautifully simple. The stunning glorious colours created by Donald Holder’s lighting merge to create a very true colours of the African plains whilst Richard Hudson’s set design is simple but ultra effective making for a seamless production.

Jean-Luc Guizonne’s characterization of Mufasa (The Lion King) is strong, and imperially brilliant in every way yet he shows humility and fatherly love to his young son at the same time.

As young Simba, Amari James displays a wonderful childlike innocence and is at ease with his marathon and physically demanding role. He teams so well with Serenna Raphella Hunte as Young Nala, who has the character beautifully nailed with just the right measure of innocence but with a feisty edge.

Later Simba and Nala become re-united as adults with roles taken over by Stephenson Ardern-Sodje (Simba) and Nokwanda Khuzwayo (Nala). There is real chemistry between these two and their “Can you feel the love tonight” is a duet to remember.

Richard Hurst’s Scar is imposing but he tends to play it more as a pantomime baddie which at times does not sit well but on the plus side its not terrifying to the younger members of the audience.

Zazu (Matthew Forbes) keeps things moving at a cracking pace. Forbes has wonderful facial expressions and  moves beautifully but references to Primark and more topical things just don’t sit well in the script and spoil the ethos he has created.

But its Timon (Alan McHale) and Pumbaa (Carl Sanderson) with their expert comedy timing and perfect characterizations of the warthog and meercat that are outstanding. Their philosophy for life  Hakuna Matata, which means no worries in Swahili is the cue for one of the best songs of the show.

But the ultimate show stealer is Thandazile Soni who drives the show with her story telling appearances and chants. She is larger than life, colourful and a very accomplished artist.

However The Lion King is an ensemble show and has a truly multi-talented one from every corner of the world.

They conquer difficult choreography that is technically difficult with ease, they walk on stilts, carry animal puppets and have to transform into animals at a moments notice from graceful birds, antelopes and giraffes to circling vultures and deathly hyenas not forgetting subjects of the Lion King.

The live orchestra, under the skilful direction of Jon Aspital works hard and conquers a difficult score with ease, no easy task with auditorium percussion playing a large part of the orchestration.

The Lion King is a must see show for everyone in fact I would describe it as a theatrical triumph.

Liz Coggins is a member of The Critics Circle

Disney’s Award Winning Music The Lion King is at The Alhambra Theatre, Bradford until  28^th May. To Book: 01274 432000 or visit Bradford-theatres.co.uk