Review: The Lion King, Bristol Hippodrome – ‘a roaring delight’

More than 110 million people worldwide have seen The Lion King since it first opened in 1997. Its worldwide gross income is apparently so large that it exceeds that of any film, Broadway or West End show or other entertainment title in box office history.

It seems to have the magic Disney formula enshrined forever in its DNA. But is it still the main event?

What it certainly has is the most jaw dropping opening to any musical. The gloriously authentic Durban born Thandaziele Soni as Rafiki opens with a powerfully sung prologue which stirs something eternally emotional while a stunning parade of giraffes, cheetahs, antelope and hugely majestic elephants sway down both aisles of the stalls and onto the stage.

Lionesses of The Lion King – photo: Johan Persson

All the while the sun rises over the plains. The puppetry is simply breath taking and while powerful drums perched in the balconies pump out the rhythms across the auditorium the superbly evocative singing by the ensemble carries this production towards the pride lands and the Serengeti comes to life in the centre of Bristol.

The set design is simple and effective and is backed up by mesmerizingly colourful costumes, clever lighting and assured direction by Julie Taymor. Choreography by Garth Fagan mixes standard show moves with hip hop along with a dollop of good old-fashioned razzmatazz.

When I saw this production the last time it visited Bristol in 2019, I was struck by the strangely slightly less black casting of the major roles as opposed to the ensemble, but this seems to have been corrected.

Both Nalas demonstrate grace and sassy strong feminine natures as befitting lionesses; Lauren Simpe-Asante puts in an assured performance as the young Nala and Nokwanda Khuzwayo as the elder Nala shows a generous glint of steel in rebuffing Scar’s rather creepy advances.

Giraffe and lion puppets of The Lion King – photo: Catherine Ashmore

Set changes are dynamic and assured. And all the while the urge to sing The Lion Sleeps Tonight is always just a whim away.

Where the show falters slightly is in the rigid demand made by the owners of a sure-fire hit. Even though we are told that ‘change is good’ in the Great Circle of Life there is a temptation not to allow individuality to blossom.

It is true in theatre as in life that if it aint broke, don’t fix it, but sometimes you need to find a way to keep things fresh.

The returning principals, Jean-Luc Guizonne as Mufasa, Richard Hurst as Scar and Matthew Forbes as Zazu look the part and take us through the story of good and evil with whimsical comedy interspersing the drama, but at times they seem to be going through the motions. Occasionally it is apparent that the jokes have been told thousands of times before.

Lionesses of The Lion King – photo: Deen van Meer

However, these are minor quibbles and the half term packed house thrilled to the life affirming, foot stomping, shoulder shimmying, blast of pure theatrical magic.

There were the odd local references including of St Nicks market. Jaydon Eastman as Young Simba does particularly well and the comic favourites Pumbaa and Timon are played with relish by Carl Sanderson and Alan McHale.

However, the most enthralling moments belong to the chorus routines which lift the show above the heights of the movie by virtue of their strong links with African dance and rhythms.

And yes, at the finale the audience rose as one and roared out their approval.

The Lion King (age recommendation 6+) is at Bristol Hippodrome, St Augustine’s Parade, Bristol, BS1 4UZ on February 17-March 19 at 7.30pm, with matinee shows on Wednesday, Saturday and Sunday at 2.30pm (no shows on Monday). For more information and tickets, visit www.atgtickets.com.

Main photo: Brinkoff and Mogenburg

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