Review by Chris Heide
Photo by Matthew Murphy
I walked into the theater with a certain amount of skepticism. I had seen The Lion King before, and I have never been entirely sold on productions that rely heavily on child actors. But from the moment the lights dimmed, this touring company gripped me. It was not just a nostalgic stroll down memory lane, but a living, breathing piece of theater that felt both familiar and new.
When the first notes of “Circle of Life” rolled out, the drumbeat, the chorus, the orchestra, and the parade of animals emerged, I was reminded of the power of live theater. The puppetry, masks, costumes, and silhouettes combine to create a world that is convincingly alive. The giraffes towering overhead, the graceful gazelles, the subtle sway of the herds, all work together to transport the audience. The set design and staging evoke the savanna with a sense of wonder. This is not a cheap costume show but a fully realized theatrical landscape.
It is worth acknowledging that The Lion King is technically light on the kind of story you often find in other Broadway productions. The plot is simple, straightforward, and familiar to almost everyone in the audience. Despite that, the spectacle more than makes up for the narrative simplicity. The visual and physical storytelling carry the weight, transforming a well known tale into something that feels emotionally rich and theatrically potent.
What truly elevated the experience for me was the cast. Gilbert Domally as Adult Simba delivered a performance full of warmth and sincerity. His rendition of “Can You Feel the Love Tonight” felt like more than a nostalgic callback. It felt like a rediscovery of the character’s emotional core. Thembelihle Cele as Adult Nala brought depth, strength, and grace. Her harmonies with Domally created a tenderness that grounded the visual spectacle in human connection. Mukelisiwe Goba as Rafiki provided a spiritual center for the production. Her voice, presence, and joy gave the show a soulful weight that resonated throughout the theater.
As for the young cubs, I will admit my bias. I am usually not a fan of child actors in major productions. However, the performers playing Young Simba and Young Nala surprised me with their charm and authenticity. Their innocence and energy enhanced the emotional arc of the story. They felt natural, believable, and essential to the world of the show.
Though it is not a holiday production in any formal sense, watching The Lion King in Seattle during December felt strangely seasonal. The warmth of its music, the themes of homecoming and renewal, and the communal experience of witnessing such a visually stunning piece of theater gave the night a holiday like glow. It felt like a gift to revisit the story and find new depth within it.
I have seen the show before, and I know the narrative well. Yet this time, I left the theater feeling grateful I returned. This production was not simply a memory revived, but a vibrant celebration of life, loss, growth, and hope.
If you hesitate because of the familiar story, the puppetry, or the presence of child actors, I would still encourage you to see this touring company. You may find yourself surprised. I certainly was.