Reviewed by Dr. Tiffany Knight Raymond, PhD, and Theron Raymond (eighth grader)
The Lion King is a show that can travel with you through time. When the animated film came out in 1994, I saw it on a date at a charming one-screen movie house. Julie Taymor brought The Lion King to the stage in 1997, and I attended the musical with my then-roommate at the Pantages Theatre in Hollywood in fall 2002. The “Circle of Life” continues present day seeing The Lion King at the Benedum with Theron, my 14-year-old son and co-reviewer.
Considering the 24-year gap between my first and second viewing of the show, I was astonished and impressed by how well I remembered it and how relatively little it has changed. What was more impressive this time were the large-scale animal puppets. Given its cost-efficiency, digital projection is now highly utilized for visual effects. Digital has its own beauty, but it makes this 20th century show feel almost anachronistic with its delightfully solid physicality. Seeing life-sized puppets of elephants and rhinos lumber down the aisles for the opening number and actors onstage on stilts as giraffes is an unforgettable, multi-dimensional visual feast for the eyes. Colorful birds hypnotically fly on poles from the balconies, aisles, and stage that are expertly navigated by actors who sing as they perform puppetry. The show’s stunning visuals keep you turning in your seat for a full 360 effect that you don’t want to end. This is all made even more immersive by the show’s well-choreographed musical numbers that advance the plot.
Representing the kiddo crowd, Theron was particularly impressed with the actors playing Young Simba (shared by Aaron Chao and Josiah Watson) and Young Nala (shared by Journey Compass and Marley Gomes). They flawlessly project their lines and bring a delightful energy to “I Just Can’t Wait to Be King” as they ride around on huge puppets. Their youthful sense of wonder mirrors that of the kids in the audience.
The king’s major domo, Zazu the hornbill, truly comes alive in the hands of the mesmerizing Nick LaMedica who deftly maneuvers Zazu’s expressive features. This is most apparent when Scar (Peter Hargrave) traps Zazu in a cage of bones reminiscent of the elephant graveyard. LaMedica is obscured by the bones comprising the cage. This scene turns out magically, as it is one of the only times where a puppet is isolated from the hand behind them in such a way, and LeMedica captures the hornbill’s descent into defeat as Zazu’s beak droops.
The musical’s Hamlet heritage is most prominent when Scar pushes Mufasa (David D’Lancy Wilson) to his death in order to ascend the throne. The fall is visually stunning and heart-wrenching thanks to the slow-motion made possible by invisible fly lines. Wilson’s face evolves from the horror of his brother’s betrayal to the reality and fear of leaving his son fatherless.
While Mufasa might have worried Simba wouldn’t be able to get along without him, he manages remarkably well thanks to his fortunate and opportunely timed introduction to good friends and laugh-out-loud comedians, Timon (Nick Cordileone) and Pumbaa (Danny Grumich). Timon is a cool-headed meerkat with an attitude who teaches Simba to enjoy a good life. Timon’s cartoonishly exaggerated features lend his scenes to his characteristic sense of good-natured goofiness. Timon is slender and bouncy, making Pumbaa the stocky warthog a perfect foil to his best friend. Grumich gives Pumbaa an unwavering energy and perfect comedic tone, and their pairing on “Hakuna Matata” is irresistible as the audience can’t help but sway along.
The production’s nimble, movable Pride Rock serves as the place where Simba is first thrust into the sky by Rafiki for “Circle of Life.” However, it is also the commanding central throne of Mufasa’s kingdom of “everything the light touches.” Mufasa is the light, but the elephant graveyard beyond the kingdom is the darkness that defines Scar’s reign. Scar is a temper tantrum throwing leader who whines that “nobody loved me” whereas Mufasa teaches Simba to “respect all the creatures” and that “everything is connected.” It’s a reminder of how the leaders shape the nation. Mufasa’s reign of light and community is countered by Scar’s reign of darkness as the elephant graveyard infects the lion’s kingdom. Scar’s hyena henchmen are crass sycophants with shallow loyalty.
The kingdom seems resigned to wait out its fate. Nala (Aja Simone Baitey) goes to Scar for help, but he tries to force her into marriage instead. Scar snarls “one way or another, you will be mine.” Nala affirms control with an echoing “never” and leaves the kingdom to save it. The encounter is particularly empowering as Baitey is the first nonbinary actor to play Nala. Even as it turns thirty, The Lion King reinvents itself and evolves forward.
In the “Circle of Life,” I’ve gone from young Nala to Sarabi, Simba’s mother, but The Lion King remains gripping, relevant and inspiring. Start your journey – or rejoin the safari – but don’t miss the chance to see The Lion King while it’s here in Pittsburgh.
-TKR, Ph.D. & TR
Purchase tickets online for The Lion King through September 27, 2026, at the Benedum Center, 237 7th Street, Pittsburgh, PA, 15222.
