Song of a Reformed Headhunter

I was expecting theatrical magic from The Lion King , when I watched it with my family on July 4. The show was engaging, but proved to be less than enchanting. When I watched the parade of puppet-animals on YouTube, accompanied by the song "The Circle of Life," I cried. At the Minskoff Theatre, the song sounded tinny, and the puppets by Julie Taymor, beautiful individually, were too few to really impress. Only one elephant? One rhinoceros? Everything seemed smaller than the YouTube video had led me to imagine. The less heralded stage design, by Richard Hudson, was for me much more impressive. Pride Rock rose in a majestic spiral from the stage floor. In contrast, Scar's cave was a slanted bed of rock limited by a triangular ceiling. The staging of the wildebeest stampede, during which Mufasa fell to his death, was wonderfully imaginative. The singing, by the ensemble as well as by Dashaun Young (Simba) and Chauntee Schuler (Nala), did not do justice to the Elton John ...

Having enjoyed the film, The Quarterback and I went on Tuesday to watch the musical at the Victoria Palace with great anticipation. Perhaps our high expectations let us down. The musical did not live up to its rave reviews. Stephen Daldry, who helmed the film, directed the musical as well. Lee Hall, the scriptwriter, wrote the book and lyrics, while Elton John wrote the music. The songs were not particularly memorable. I don't remember any repetition or development of musical motifs in the second half, except for the sentimental duet sang by Billy and his mum. Fox Jackson-Keen, who was a new Billy, had stage presence, but was always theatrical, unlike the very natural Jonty Bowyer, who played his chunky gay pal. Jackie Clune was wonderful as the dance teacher, Mrs Wilkinson, bringing a bittersweetness to the role.  The dance numbers were well executed, but it was weird to see striking miners dancing. Also odd, though crowd-pleasing, was the Disney-like number when dresses on hanger...