‘The Lion King’ (Broadway Dallas) @ The Music Hall at Fair Park

Photos by Matthew Murphy, Joan Marcus, and Deen van Meer

—Rickey Wax

We hear it before we see it, that unmistakable Zulu chant—“Nants’ ingonyama bagithi Baba!”—and just like that, the world shifts. Rafiki belts out the opening to “Circle of Life,” and suddenly, Africa comes to life inside The Music Hall at Fair Park. Elephants parade down the aisles. Giraffes lope across the stage. A rhino ambles past like it has VIP seats up front. Within seconds, you're no longer in Dallas—you’re on the savannah, bathed in golden light and filled with heart-thumping nostalgia.

Welcome to The Lion King, the world's number one musical. I’ve been saying that since I was in pull-ups, and I stand firm on that hill today.

If you're unfamiliar with The Lion King, congratulations on emerging from under your rock. For everyone else, this is a story we know by heart: Simba, the lion cub prince, loses his father Mufasa in a tragedy orchestrated by his shady Uncle Scar. He flees in guilt, and eventually returns to claim his rightful place in the Circle of Life. It's Shakespeare's Hamlet for toddlers—with a way better soundtrack and fewer people holding skulls.

Broadway Dallas’ presentation of Disney Theatrical Group’s touring production keeps the spirit of the original Disney film alive, with a few tweaks that freshen things up without losing the heart. It's no small feat to bring arguably Disney's greatest work to the stage (yes, I said it—fight me, Frozen fans), but under Julie Taymor's masterful direction, this production does so with breathtaking ease.

Let’s talk fun facts for a second: The Lion King first opened on Broadway in 1997 and went on to become the highest-grossing Broadway show of all time. One of its many innovations was the use of elaborate shadow play—used here to stunning effect during the infamous wildebeest stampede. (In theatre, shadow puppetry dates back to ancient Indonesia, but in the show it feels fresh, almost like another cast member entirely.) The scrim—essentially a translucent screen—is used so cleverly, it could have been (and probably was) nominated for a Tony. It helped blend scenes, mask transitions, and heighten emotion in ways that felt cinematic.

Speaking of emotion, let’s talk music. The legendary Elton John and Tim Rice teamed up for this score, and conductor Karl Shymanovitz led the orchestra with such precision, it was like watching a master painter control every brushstroke. He knew just when to let the pianissimos float like whispers and when to punch the fortissimo like thunder. The result? Musical dynamics that mirrored Simba’s emotional journey beat for beat.

Vocally, this was one of the best musical ensembles I’ve seen. Mukelisiwe Goba’s Rafiki was equal parts shaman, narrator, and comic relief—with a voice that could summon the ancestors and your childhood memories in the same note. Gerald Ramsey brought a regal warmth to Mufasa (Darnell Abraham alternates in the role), and Erick D. Patrick’s Simba had a charming earnestness that made his emotional arc land with sincerity. Thembelihle Cele’s Nala gave us the poise and power of a future queen (her “Shadowland” was a standout moment).

Let’s not forget the comic duo of Nick Cordileone’s Timon and Danny Grumich’s Pumbaa, who threatened to steal the show with their comedic timing and full commitment to flatulence-based humor. (The role of Timon is played alternately by Robert Creighton.) Meanwhile, Peter Hargrave’s Scar slithered through scenes with theatrical glee—though I must say, my one gripe (not with him) was the dance break during “Be Prepared.” I love a good production number as much as the next person, but turning Scar’s villainous anthem into a vaguely Chip ‘n Dale dance number? Unexpected. And the choreography wasn’t quite as sharp there—just a hair out of sync. All in all, these choices softened what should have been a darker, more menacing moment.

Martina Sykes, Forest VanDyke, and Sam Linda (as Shenzi, Banzai, and Ed respectively) gave the hyenas the chaotic energy they deserve, while Drew Hirshfield’s Zazu brought the right blend of uptight bird energy and witty delivery.

By now the scenic design by Richard Hudson is iconic, with sweeping vistas that evolve before your eyes. Julie Taymor’s costume and puppet design (with Michael Curry) is still a jaw-dropping marvel. You forget you’re watching actors—you see lions, birds, and gazelles in full motion. Donald Holder’s lighting design perfectly captures the mood of each scene, from the warm sunrise to the eerie blue of the elephant graveyard.

Pacing-wise, the show moved smoothly, though there were moments (like Scar’s “confession” to Simba) where a slight pause might have elevated the tension. A breath. A beat. Just enough to let the betrayal sink in.

But really, these are minor quibbles in an otherwise spectacular evening. There’s something for everyone here: children dazzled by the colors and movement, adults fighting tears when Mufasa dies (still hurts, y’all), and longtime fans like me who sit there whispering every lyric under their breath like it's sacred scripture.

Broadway Dallas has delivered a visually lush, musically rich, emotionally satisfying experience with this touring production—one that reminds us why The Lion King still rules the theatrical savannah nearly three decades after its Broadway premiere. Bring your family, your whole heart, and maybe some tissues.

Because the Circle of Life? It’s still spinning—and it gets me every time.

WHEN: June 4th-July 3rd, 2025
WHERE: The Music Hall at Fair Park, 909 1st Ave, Dallas
WEB: broadwaydallas.org