The visual beauty of ‘The Lion King’ musical production is like a living work of art. From the opening number, when the stage fills with animals (including an elephant that comes down the aisle), to the stampeding wildebeests set across a blood-red set to boulders on the stage that actually morph into humans, there will probably never be another Broadway show as artful as this production. When Julie Taymor was in the early stages of costume design, one of her first tasks was to decide how to portray the hundreds of animals that populate the story. She made the decision not to hide the human performers behind masks or in animal suits. She went to African art for her inspiration. Swords or sticks could simulate legs; claw- like nails could represent a lion’s paws. Elaborate corsets provided ways to depict fur, feathers and skin. Masks were attached to harnesses, which allow them to move backward and forward. Her vision resulted in an animal that allows the personality of the actor to blend with the animal, resulting in infinitely more complex characters. It was fascinating watching the hyenas’ mouths move (they’re worked by the actors’ hands) as well as focusing on the actors mouths at the same time’it was almost as if it were a double force emanating from that animal. In the case of Damian Baldet (Timon), who is painted green and controls the meerkat, there was an interesting moment when the character walked off stage and the man’s shadow followed the puppet’s shadow, as if the man were the conscience of the animal. Taymor has been praised for her brilliance in taking an animated film and creating a work of art, and it is well deserved. All of the animals are elegant, from the stately giraffes to the ostriches that Nala and Simba ride. With over 200 puppets in the show (rod, shadow and full-sized puppets) and 12 bird kites, representing 25 kinds of animals, birds, fish and insects, the show is full of splendor and wonderment. Although the animals are remarkable, the image used to represent the plants and land is equally creative. The swaying of the ‘savanna’ grass is etched in my mind. Actors wearing ‘grass’ headpieces cast an eerie but calming touch as the lighting transformed the scene into the shadows. Another remarkable vision presented itself when actors dressed as plants transformed themselves into exotic orchid-like plants to set the backdrop for one of the scenes in the jungle. The warm clear voice of Gugwana Dlamini (Rafiki) opens the show, calling the animals to Pride Rock. Dlamini is an actress who fills the stage with presence and a sense of fun. Since she’s the first ‘animal’ the audience meets, she sets the tone for the evening. Kevin Gray drips with sarcasm as Scar, and his interaction with Timothy McGeever (Zazu) is a well balanced tit-for-tat. Both performers are excellent. One of the most amazing performances opening night came from the young Simba (Jordan D. Bratton). Not only does this slight child have great stage presence, but he has the perfect energy as the young cub. His singing is impressive. As a bonus, the chemistry between Simba and Nala (Diamond Curvy) was child-like: sweet and real. The two made the first act fly by. Geno Segers (Mufasa) was stiff in the role of the lion until he sang, and then it became apparent why he was cast. His voice filled the historic Pantages Theater from the elaborate designs on the ceiling to the very depths of the orchestra pit. Segers didn’t study acting until after graduating from college and playing sports, including the World Rugby League Cup. Although Wallace Smith (older Simba) is appropriately limber and once again has a great singing voice, his speaking voice seems to be done with his teeth clenched, which becomes annoying. There are 143 people directly involved with the daily production of the show–53 of them are cast members. The ensemble is to be commended for the ease by which they accomplish constant costume changes, beautifully executed choreographed numbers, and the ease with which they accomplished it. Many audience members took young children to this play with the idea that it was a rehash of the much-beloved animated movie. It’s a mistake. The musical is approximately an hour longer than the movie and I noticed several sleeping children. Other young children found other means of entertaining themselves during the show, which was annoying to audience members. At the risk of insulting a theater icon, the play could stand some trimming, especially the second act. Over all, though, it doesn’t lessen the magnificence of Julie Taymor’s vision. If you haven’t seen ‘The Lion King,’ which won 1998 Tony Awards for best musical, director, choreography, scenic design, costume design and lighting design, do it. The show runs Tuesday through Friday evenings at 8 p.m., Saturdays at 2 and 8 p.m. and Sundays at 1 p.m. and 6:30 p.m. There are special 2 p.m. matinees on December 6, 21 and 28. Tickets $15 – $87 are available at Ticketmaster (213) 365-3500 or (714) 740-7878.
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