Just 2 days ago, a milestone was reached. The Broadway production of the Lion King celebrated 10 years bringing the circle of life to life. Running a first run Broadway show for 10 years is a rarity in the history of the theatre; only a select few make it. Even fewer achieve artistic and commercial success to match the longevity. Quite an achievement, especially considering how large a target Disney is. After all, Disney received a load of publicity in getting portions of Time Square “cleaned up”. This generated plenty of positive public relations, but there was also some negative publicity. As always that negative publicity was very loud. They’re still at it, but the show has eclipsed their yakking. With that in mind, The Lion King is the favorite Disney Theatrical Production for most Passamaquoddians.

The show is based on the massively successful animated film of the same name. It was taken, expanded and explored in many different directions. It was quite an experiment, headed up by artist and film director Julie Taymor. (Some of Taymor’s more interesting film work was seen in Frida and Titus) How do you transfer a human-less animated feature to a limited static stage space? Taymor’s approach to the Lion King involved taking risks at every turn. Most of those risks pay off remarkably well. But a small percentage didn’t sit well with me. Still the overall product is a smashing sensation.

The show begins with Taymor immediately addressing how she will fit an animated movie onto a limited stage. She doesn’t. The first sounds we hear are delivered from a mezzanine far from the stage. Quickly, a leopard takes to the stage, under the control of the first of many talented puppeteers. The sun rises from the stage as a fancy accordion blind. Two giraffes, created by puppeteers on large stilts emerge. Birds take to the “sky” above the audience. “Animals” use the theatre aisles to swarm upon the stage including an elephant with 4 puppeteers, each manning one leg. Pride rock swivels up and out of the stage, spiraling up as Sarabi and Mufasa make their ascension. This opening is impossible to describe beyond it being magnificent theatre. It very well could be the most spectacular first 10 minutes of any show that anyone has ever seen. The show continues on with incredible visuals and storytelling techniques, but they can never live up to that first ten. This is something I felt with the animated feature as well.

The Broadway show takes many of the songs from the film, expands them and adds a few in. The most successful additions were actually created for an earlier CD expansion on the Lion King called “Rhythm of the Pride Lands”. Some, including a new song for the hyenas called “Chow Down” are uncomfortable at best.

Still, Taymor’s vision never gives up. Her fantastic costuming and masks are enrolling. And throughout, there are moments of goose bumps and jaw dropping accomplishments. When Mufasa’s “head” comes together from several large floating shields, my eyes welled up with tears, even on a third viewing. If the opportunity comes up, or the show goes back up at the Passamaquoddy Community Theatre, I plan on making it four.

If you get the chance, take a look at the show that has taken Broadway by storm these past 10 years. You won’t regret it.