"Long live Toronto’s ‘Lion King!’—a joyous communal celebration of the circle of life between the actors and the audience."

Finally, Toronto can experience a daily 'royal' coronation at the Princess of Wales Theatre with its Canadian production of 'The Lion King.' After seeing this performance twenty-five years later, what strikes me most is its connection to events south of the border, which may soon unfold in our own country. The American people seem to have chosen to restore order amid the chaos they have experienced over the last four years.

In ‘The Lion King,’ that sense of order permeates the nature of the African Pride lands. All’s well within the world of nature. That order becomes toppled in chaos when the evil lion Scar (a deliciously slick and slimy performance by Salvatore Antonio) usurps his position within natural order and causes the death of the rightful king of Pride Rock, Mufasa (a kingly and regal David D’Lancy Wilson).

When it appears that the young Simba (Lucien Duncan-Reid, at this performance) is to be the next king, Scar has difficulty accepting that edict. He tricks the young Simba into believing he is the cause of his father’s death, and the young cub runs away. Ultimately, justice wins in the end. The adult Simba (Erick D. Patrick), with the help of the adult Nala (lovely work in ‘Shadowland’ by Camille Eanga-Selenge), returns to restore order to his homeland with the help of friends.

‘The Lion King’ remains a veritable feast for the eyes and the ears a quarter of a century later.

What an exquisite musical opening number! It continues to bring tears to my eyes. Sung extraordinarily by mandrill Rafiki (an adorable Zama Magudulela), who gathers all the creatures of Pride Rock together, ‘The Circle of Life’ reminds the audience that everything is in its rightful place in the order of nature. The presentation of the young cub of Mufasa and his lioness wife Sarabi (Lisa Michelle Cornelius) to the animals present at the end of the song in a tableau leaves an indelible image before the blackout.

Director Julie Taymor's stunning costume designs stand out beautifully under Donald Holder’s rich lighting. The masks and puppetry created by Taymor and Michael Curry are captivating, drawing my attention and making it hard to look away. They are truly a remarkable sight. Additionally, Richard Hudson’s scenic design of the rising sun remains breathtaking. Because I know most of the songs, I also know their lyrics. For the most part, I could hear the actors sing, but there are moments when the orchestra drown the lyrics. Hopefully, Steve Canyon Kennedy will continue to work in balancing the orchestra and the singers.

What occurs on the Princess of Wales stage is a testament to the creative team.

Director Julie Taymor and Associate Director Anthony Lyn's steadfastness in envisioning a story that speaks to children and to young and older audience members touches my heart. Garth Fagan’s choreography and movement remain exciting to watch. Sean Mayes’ musical direction of Mark Mancina’s additional score and Lebo M’s additional vocal score, vocal arrangements, and choral direction soars high to the roof of the theatre several times. Two of the most notable are ‘They Live in You’ and in the second act’s opening of ‘One by One.’

There are performances also worth noting for their comic theatricality.

Will Jeffs is a sharp and quick-witted Zazu. As Timon and Pumbaa, Brian Sills and Trevor Patt become irresistible charmers in their appreciative nod to two famous comedian duos – Laurel and Hardy. As the idiotic hyenas, Shenzi (Jewelle Blackman), Banzai (Joema Frith) and thick as a post with his tongue sticking out, Ed (Simon Gallant) are endearing reminders of the Marx Brothers' comedy from long ago. The singers and dancers are extraordinary. There are moments when I closed my eyes so I could listen to the various harmonies in the songs.

Final Thoughts:

On the GO train ride home, I did a lot of thinking about the show. What came clear to me within the hour ride home:

The production upholds conservative, solid values. For example, it upholds the family unit. The male/father figure protects his family against all harm. The female/mother will care for those in her immediate life. Together, mother and father will help their young cub/children grow. This value is also reiterated by the adult Simba and Nala in the end.

Other thoughts kept returning to my mind about the journey from order to chaos to order once again.

First, ‘The Lion King’ assumes a respected understanding of the "Divine Right of Kings," a medieval Christian political doctrine that holds that God designates rulers to govern the land justly. These rulers are expected to fulfill their responsibilities with integrity, and at times, they may need to engage in conflict to ensure that these duties are upheld.

Second, the only way to maintain an established order is to embrace Christian values, prioritizing service to others. These values are centered on love, respect for parental figures, and reverence for a higher power. The importance of these values is demonstrated in "Circle of Life," where the characters show their appreciation by bowing and nodding to one another.

Ultimately, there is a call to prayer, most evident when adult Simba speaks to the dead Mufasa, seeking a sign to return to the Pride Lands and fight for what is rightfully his.

These Conservative and Christian values are precisely what the American people voted for in the next four years. I wonder if the same will happen in our country next year.

In any event, stories that connect to Christianity make this writer smile again and his heart leap for joy.

In the meantime, go see ‘The Lion King.’

Running time: approximately two hours and 30 minutes with one interval/intermission.

‘The Lion King’ currently runs until August 30, 2025 at Toronto's Princess of Wales Theatre. For tickets, visit mirvish.com or call 1-800-461-3333.

DAVID AND HANNAH MIRVISH, in association with DISNEY THEATRICAL GROUP, present:
Disney’s ‘The Lion King’

Music and Lyrics by Elton John and Tim Rice with Additional Music by Lebo M., Mark Mancina, Jay Rifkin, Julie Taymor and Hans Zimmer
Book by Roger Allers and Irene Mecchi
Directed by Julie Taymor
Choreography: Garth Fagan
Music Director: Sean Mayes
Costume Design: Julie Taymor
Scenic Design: Richard Hudson
Lighting Design Donald Holder
Mask and Puppet Design: Julie Taymor and Michael Curry
With so many tremendously awesome performers.