"Lion King" Keeps on Roaring in Theaters Across the Country
Julie Taymor's innovations in "The Lion King" in stagecraft, costumes, sets, and humans merged with puppets forged a new kind of musical theater in America, bringing world traditions to masses of theater-goers in the United States.
I'd yearned to see "The Lion King" for years and finally got my wish at its last performance at the Fox Theater in St.
Louis.
We sat in rear orchestra seats and I hardly think I caught my breath throughout the entire three hours we were there.
First, you have to understand about the oppulence of the Fox itself, which locals describe as "The Fabulous Fox.
" It's a renovated 1920s theater in the Grand Center Arts District.
Then, "The Lion King" is a visual feast and sensual delight with mime, dance, puppets, song, acting, percussion on either side of the stage, and full orchestra in the pit.
The choreography, sets, props, costumes, constructions, and lighting design all come together in a grand pop operatic balance.
Because I've been a puppeteer (in Botswana I was the puppetry consultant for the Popular Theater campaign) and designed kinetic props for dances I collaborated in choreographing and performing (as guest artist with Augustino Dance Theater) I was particularly interested in the constructions and how they were animated by the skilled troupe.
I was reminded of Bunraku and Noh drama.
I was also reminded of a dancer I saw perform in the Bay Area who was influenced by Indonesian and Balinese sacred temple dance tradition: Sha-Sha Higby.
She disappeared inside costumes she made composed of a thousand separate pieces that tingled and twirled as she moved with exquisite control in the intimate gallery environment.
Everything in "The Lion King" stage show is so seamless, you just don't know where to look.
In a show this complex lighting and sound cues take over half dozen computers to track and execute.
Yet, the show still gets so much mileage out of simple effects like a rippling river of material.
This is theater-craft at its finest.
The entire audience of both adults and children were completely mesmerized.
After the performance we hung out in the theater as the roadies began to lay out the puppets on the orchestra seats preparatory to packing as they moved on to their next gig.
They estimated it would take 10 hours to complete their work and depart at 2 a.
m.
the next morning.
I'm sure glad I'm not on tour.
But, I'm glad they are and that no quality has been lost and no expense spared as "The Lion King" criss-crosses the country.
I'd yearned to see "The Lion King" for years and finally got my wish at its last performance at the Fox Theater in St.
Louis.
We sat in rear orchestra seats and I hardly think I caught my breath throughout the entire three hours we were there.
First, you have to understand about the oppulence of the Fox itself, which locals describe as "The Fabulous Fox.
" It's a renovated 1920s theater in the Grand Center Arts District.
Then, "The Lion King" is a visual feast and sensual delight with mime, dance, puppets, song, acting, percussion on either side of the stage, and full orchestra in the pit.
The choreography, sets, props, costumes, constructions, and lighting design all come together in a grand pop operatic balance.
Because I've been a puppeteer (in Botswana I was the puppetry consultant for the Popular Theater campaign) and designed kinetic props for dances I collaborated in choreographing and performing (as guest artist with Augustino Dance Theater) I was particularly interested in the constructions and how they were animated by the skilled troupe.
I was reminded of Bunraku and Noh drama.
I was also reminded of a dancer I saw perform in the Bay Area who was influenced by Indonesian and Balinese sacred temple dance tradition: Sha-Sha Higby.
She disappeared inside costumes she made composed of a thousand separate pieces that tingled and twirled as she moved with exquisite control in the intimate gallery environment.
Everything in "The Lion King" stage show is so seamless, you just don't know where to look.
In a show this complex lighting and sound cues take over half dozen computers to track and execute.
Yet, the show still gets so much mileage out of simple effects like a rippling river of material.
This is theater-craft at its finest.
The entire audience of both adults and children were completely mesmerized.
After the performance we hung out in the theater as the roadies began to lay out the puppets on the orchestra seats preparatory to packing as they moved on to their next gig.
They estimated it would take 10 hours to complete their work and depart at 2 a.
m.
the next morning.
I'm sure glad I'm not on tour.
But, I'm glad they are and that no quality has been lost and no expense spared as "The Lion King" criss-crosses the country.
Source...