Disney’s The Lion King shines bright in Syracuse with a spectacular stagecraft 

Disney’s beloved The Lion King musical adaptation illuminated The Landmark Theatre’s stage with impressive puppetry, dazzling set designs, and moving performances on Thursday evening, the second night of their 11-day run in Syracuse. 

Taking advantage of every inch of the theatre’s small space, ensemble members adorned in intricate costumes danced and chanted down the aisles of the audience, children and adults wide-eyed as the live orchestra swelled to the opening number, “The Circle of Life.” It was a harmonious and dynamic set design, the dancers moving and acting as various wildlife elements; perhaps the “smaller” parts shined brightest in this musical, for the ensemble dancers, chorus, and pit orchestra really brought the story to life. 

The coming-of-age classic follows young cub Simba as he navigates the death of his father, Mufasa, at the hands of his cunning uncle, Scar. Simba meets friends (and foes) on his journey to take back the homeland and claim his rightful throne, and the musical adaptation follows this storyline while adding original music and modern dialogue — appealing to young and old alike.

The costume and set design uniquely blended realistic and imaginative elements, especially for main characters like Mufasa, Scar, the hyenas, and the iconic duo Timon and Pumbaa. Scar (Peter Hargrave) was a standout, moving with his massive costume with expert ease — swinging his tail as he snarled at Simba, craning his neck so the detailed lion mask would hide his “real” face, and delivering menacing roars on all fours. 

Young Simba and Nala (Julian Villela and Jaxyn Damasco) also commanded the stage with a seasoned presence during “I Just Can’t Wait to Be King,” the young actors maneuvering gigantic animal props as they harmonized and weaved through the ensemble dancers. The props were some of the most impressive and intricate I’ve seen, appearing handmade with wood, fabrics, paint, and papier-mâché. 

Despite the magnificent props and performances, Act I did drag a bit. I found myself itching for intermission, repeatedly checking the time; the show began at 7:30 and ended near 11 p.m., which is quite a long show, especially for young children. I noticed several asleep in their parents’ arms by the end, and, quite frankly, I dozed off during the second act. Whether that is a testament to the extent of the show or some of the less noteworthy elements, this was definitely a lengthier production. 

I found most of the musical numbers to be lacking energy, the sound dull in comparison to the liveliness of the costumes and set design. It was as if the voices were muffled, unable to project in the theatre. The choreography was stunning, and the ensemble members delivered truly dazzling performances, but the actual voices simply didn’t carry. 

And, while the puppetry was impressive, there were some kitschy moments; a little stuffed animal was used for one of Timon’s scenes instead of his actor’s accompanying puppet, and again at the end of the musical to represent older Simba and Nala’s cub. Food items made from felt were thrown to the hyenas and other characters, and these little elements almost distracted from the impressive feat of the 45-pound Pumbaa costume or the stilted giraffes, for example. At some points, I found it difficult to blend the actor and their accompanying prop or puppet into one entity; for meerkat Timon, especially, as his actor was entirely green to match the jungle scenery, yet very rarely did he actually camouflage into the background. 

Aside from these sparing moments, The Lion King was an impressive production, with every element working in tandem to bring a familiar coming-of-age tale to life. The camaraderie on the stage was a powerful and brilliant testament to the themes and messages of the story, and the sheer amount of dedication put into the production was truly evident. 

Ticket information for the remaining Landmark Theatre performances.