'Lion King' roars into town with a spectacular vision of theatrical ...

It has become a classic coming-of-age story, part of which is the lion cub Simba?s attempt to discover how to roar. All he needed to do, however, was to hear the thunderous roar of the audience at the conclusion of Friday?s opening night performance of ?The Lion King.?

The Tony Award-winning musical has moved in to the Mahalia Jackson Theatre for the Performing Arts for a month-long run, with all the spectacle and theatrical magic that has made it one of Broadway?s biggest hits.

Based on the Disney animated film, its magnificent evolution of the art of puppetry remains an astounding visual feast. The show has one of the grandest opening scenes ever staged, with its veritable parade of flocks of birds, gazelles and antelopes, zebras and giraffes, lions and magnificent rhinos and elephants, all taking to the stage from every part of the theater.

Originally set to reopen the Saenger Theatre, the show is probably a better fit for the Theatre of the Performing Arts. The impact of that opening scene was made all the more powerful within the more expansive yet intimate space.

Director Julie Taymor?s now legendary colorful designs and innovative costuming (which leaves one hoping there?s a chiropractor traveling with the cast) bring the story to life.

It follows the birth and development of young Simba, the son of Mufasa, the king of the jungle. When he blames himself for his father?s death (actually brought on by Scar, his uncle), he flees. The kingdom suffers under the wicked rule of Scar and his band of toadying hyenas. Finally, finding strength through his newfound friendships, the grown Simba returns to claim his place and save his homeland as the conquering hero.

THE LION KING

• What: The Broadway in New Orleans staging of the musical adaptation of Disney?s animated film about a lion cub?s coming of age. Aimed at ages 6 and up.

• When: Performances running through April 15.

• Where: Mahalia Jackson Theatre for the Performing Arts, Armstrong Park.

• Tickets: $27.50-$110, depending on dates and times, plus convenience charges. For information or to order tickets, call 504.287.0351 or go to Ticketmaster's website.

The rest of the physical production for the touring company reflects the same visual sumptuousness that is seen in the original Broadway show. The only scene that felt smaller to me was the wildebeest stampede, which I remember roaring across the New Amsterdam Theatre in New York. Garth Fagan?s original choreography remains a lively and vital asset to the show.

There are energetic and passionate performances throughout the show?s cast ? one that is especially large for a touring company. Several particular performances do stand out.

Dionne Randolph is a commanding king as Mufasa, bringing a strong sense of authority, dignity and pride to his pride. His scenes with the young Simba are notably touching. His rendition of ?They Live in You? makes it one of the few songs that convey true emotion.

The young Simba on opening night was played with adorable glee by Adante Power, who shares the role with Zavion J. Hill. Jelani Remy plays Simba as an adult lion, finding just the right blend of youthful impetuousness and the wisdom learned from Mufasa.

Scar, a classic Disney villain, gets a divinely wicked performance from J. Anthony Crane. Mark David Kaplan creates most of the comic relief as Zazu.

The success of the look and style of the show, however,?cannot cover its deficiencies. While it has remained the king, indeed, of Disney?s ever-growing Broadway empire, it may be the weakest adaptation of the film on which it is based.

For all of its magic and artistry, the musical doesn?t capture the deep emotion of the basically simple story as well as it does in the animated film. Taymor is so enamored of her own designs that she doesn?t allow certain quieter moments to hold center stage unencumbered by extraneous activity. She should trust her performers and the story they have to tell to hold the audience?s attention.

Secondly, with the exception of a couple of songs, the pop score by Elton John and Tim Rice fails to have a cohesiveness that could tie the show together with more sophistication. Additional songs by composers as varied as Lebo M and Hans Zimmer add to the incongruity. (The Alan Menken and Howard Ashman score to ?Beauty and the Beast,? for example, remains not only the gold standard for Disney musicals, but for any big, Broadway show.)

For a show largely aimed at a children?s audience, it does go on too long. By the end of the overly extended second act, many children who begin the night with stars in their eyes will wind up asleep on one of their parent's shoulders.

Then there?s also the intensity of the tale, which parents should take into account ? Mufasa?a death is a traumatic moment. But then, Disney has been leaving emotional scars on childhood for multiple generations now.

As the show settles in for its New Orleans run, one hopes adjustments to the sound engineering will be made to help make the performers better heard and more clearly understood over the heavily amplified score.

All of these are pointless quibbles, however, in the face of the powerful jaws of ?The Lion King.? It is a show that is a hit, in spite of itself, and audiences will continue to signal their approval with roars in the auditorium and by scooping up souvenirs in the lobby. Its critics will be dead and buried and ?The Lion King? will feed on those who feed on the grass of our graves. Yes, it?s all a part of ?The Circle of Life.?

Source: http://www.nola.com/arts/index.ssf/2012/03/lion_king_roars_into_town_with.html

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