All the spectacle and creativity of director Julie Taylor’s original vision for THE LION KING remains gloriously intact in this new national tour. THE LION KING was one of the first touring musicals I ever saw many years ago in Chicago. And for sure I was hit with a wave of nostalgia listening to Elton John and Tim Rice’s classic Disney score (with additional music and lyrics for the stage musical by Lebo M, Mark Mancina, Jay Rifkin, Julie Taylor, and Hans Zimmer). It’s impossible to resist the allure of tunes like “I Just Can’t Wait to Be King” and “Hakuna Matata.” 

This current national tour radiates joy. It also doesn’t compromise at all on spectacle: This is THE LION KING on stage in its full glory. The genius of Julie Taymor’s direction is that it combines the delights of the source animated film with a sophisticated and highly original vision. This is not at all a musical “for kids.” Rather, it’s a terrific blending of music, dance, costumes, puppetry, and foley artistry. I appreciate THE LION KING for honoring its source material but also evolving into a full-out worldly spectacle. Taymor’s costumes and her puppet designs (with Michael Curry) remain as breathtaking as the first time I saw this show. The puppetry has also been a hallmark of this show. I hadn’t seen this musical in many years, and I still found myself gasping with delight and surprise at the appearance of some of the puppets. THE LION KING brings the animals of the African savannah to vivid life with a specific aesthetic that’s highly recognizable.

In addition to the visual wonders this show provides, I was particularly interested in revisiting the show for some of its talent. Namely, Chicago’s own Gilbert Domally has the role of adult Simba. While Simba ironically doesn’t have all that many songs, Domally’s vocal talents and warm, energetic presence are a natural fit. While she has fewer moments of big energy, Thembelihle Cele is lovely as Nala. I was particularly entranced by Peter Hargrave’s take on the villainous Scar; Hargrave seems made to play a Disney villain. His facial expressions (and his killer makeup) are divine. David D’Lancy Wilson is a great foil to Scar as Simba’s father Mufasa (THE LION KING is, after all, a loose adaptation of HAMLET — with a much happier ending). At the performance I attended, Bryce Christian Thompson and Jaxyn Damasco were keen and lively young performers as Young Simba and Young Nala (they alternate with Julian Villela and Emmanuella Olaitan, respectively). 

Perhaps the most beloved characters in THE LION KING, though, are the cast of quirky sidekicks and advisors. Mukelisiwe Goba was excellent as Rafiki, the “wise” baboon of the animal kingdom, who in the stage musical has a much expanded role as pseudo-narrator and comedic lead. Goba fully leans into the challenging combo of “wise elder” meets “absolute goofball.” Nick Lamedica does impressive work as Zazu’s, the right-hand bird to Mufasa. Lamedica works so well with his Zazu puppet that actor and puppet really merge, and his comedic instincts are great. Robert Creighton and Danny Grumich were extremely memorable as the story’s most beloved duo Timon and Pumbaa. Creighton and Grumich play off each other wonderfully, each finding moments to shine without eclipsing one another. It’s a real “Abbott and Costello”-style act. 

THE LION KING remains a terrific choice to introduce young audiences to the magic of live theater, but this latest tour reminds me that this is a sophisticated and joyful show that can be enjoyed by all musical theater lovers. 

The Broadway In Chicago engagement of THE LION KING national tour runs through October 19, 2025 at the Cadillac Palace Theatre, 151 West Randolph. Tickets are $45-$180. 

Tickets: broadwayinchicago.com

Photo Credit: Matthew Murphy

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