'A show unlike any other' – Our review of The Lion King at Birmingham Hippodrome

Having enjoyed infinite West End success for more than 26 years now, this is a show unlike any other and still delights and astounds musical theatre and Disney fans time after time.

How wonderful therefore that Midlanders have the opportunity to enjoy this worldwide phenomenon from now until September 16. It’s set to be an African summer!

Based on the 1994 Walt Disney animated movie of the same name, The Lion King has an impressive pedigree, with lyrics by Mr Musical Theatre, Sir Tim Rice and music by pop legend Sir Elton John, not to mention additional music by specialist composers and a script created by playwrights Roger Allers and Irene Mecchi.

The storyline is simple, but nonetheless emotional, with the classic message that good conquers over evil, and tells the tale of the adventures of the Simba, a lion cub who is set to succeed his father Mufasa, as head of his pride.

But when his wicked uncle, Scar, plans to steal the throne by luring Simba and Mufasa to their deaths, Simba is orphaned and then banished. He returns however as a fully grown lion to claim his birthright with the help of two crazy friends, Timon and Pumbaa. Hakuna Matata!

This musical is a sure-fire hit, as it appeals to every age group from tiny tots to grandparents and everyone in between. The winning formula of adapting a children’s cartoon to the stage, adding outstanding music and lyrics to portray the story, and the drama of live theatre has certainly paid off.

From the moment the performers entered the auditorium (I don’t want to spoilt it, but the opening number, “The Circle of Life” is stunning!) the atmosphere was tangible as we were transported to the plains of the Serengeti, and you could feel the heat and see the dust rising, so effective was the moment.

The costumes were a visual delight and so completely unique and expertly authentic that they fill the whole theatre with vivid colours and textures. There is so much to look at, you really cannot take everything in. I think I need to see the show again to fully appreciate it.

Similarly, the scenery, courtesy of Richard Hudson is highly effective, complimented by award-winning lighting design from Donald Holder, who has perfectly recreated the red and golden skies of the African grasslands, as well as the dark and dank atmosphere of the forbidden territories.

Bringing African beasts to life on stage sounds almost impossible, but it isn’t long until the puppeteers are completely forgotten as big cats, giraffes, antelope and exotic birds amble and swoop. You could be on safari it is so realistic, and there are a few huge surprises too, but no spoilers here!

It is doubtful that Julie Taymor’s distinctive style of direction, with her inimitable artistic flair, emphasis on superbly executed puppetry, her ingenious use of masks to identify the different animals and the outstanding costume design can be outdone. It feels as if this is a one-woman show, and she should be praised to the highest degree for her efforts.

However, she has not done this alone. Garth Fagan’s incredibly authentic choreography brought elements of ancient tribal and Afro-Caribbean beats, as well as balletic and contemporary dance to create animalistic features to the movement throughout the piece.

The Lion King Orchestra was nothing less than stunning too, executing every favourite tune to perfection and incorporating ethnic instruments, including two superb percussionists who were perched high above the audience.

A special mention should also go to the whole creative team who have brought this show on tour. It is huge, and the responsibility for every element should be acknowledged. Thanks guys!

The cast of the show was much larger than expected, which just added to the atmosphere and rich sound.

It feels unfair to pick and choose individuals to mention, as there are no leading players here, just a cast of extremely talented, diverse, and very carefully selected performers.

But a special mention must go to Nosipho Nkonqa as Rafiki whose superb vocals opened the show and whose comedic timing, body language and delivery of lines was excellent.

The roles of Young Simba and Young Nala were taken by two exceptional children, who together carried most of the first act of the show. They are both stars in the making.

As you would expect, there were hilarious performances from Alan McHale as Timon and Carl Sanderson as Pumbaa, who are without doubt experienced puppeteers and comedy performers, but they also gave outstanding vocal performances as well. Their appearance halfway through Act One was a definite highlight, which provoked applause.

Richard Hurst was evil and brooding as Scar and following suit with every performer on the stage, his voice was superb.

Jean-Luc Guizonne as Mufasa was noble and proud and played his emotional scenes with all the dignity you would expect from a Lion King.

“Can You Feel the Love Tonight” is of course one of the best loved songs from the show and the atmosphere created by Kyle Richardson as Simba and Janique Charles as Nala in Act Two was nothing less than magical.

But the night really belonged to the comedy and puppetry talents of Matthew Forbes as Zazu, the African, red-billed hornbill, and the king’s servant. His ability to bring the puppet to life while singing, dancing, and delivering comedy was outstanding. It’s a great role, but it also takes a great performer to execute it. “Zazu” means “movement” in Swahili, and he certainly did move!

An incredibly talented ensemble who appeared as everything from the African grasslands to lionesses and hyenas complete the visual spectacle, which makes this show so unique and unforgettable.

Disney’s The Lion King will without doubt continue to delight generations for many years to come, both on the silver screen and on stage, and for now, is a must see at the Birmingham Hippodrome.

Take your place in the Circle of Life!

For tickets visit birminghamhippodrome.com or call 0844 338 5000.

@brumhippodrome @TheLionKing