The Lion King At Bradford Alhambra Review

Reviewed by Deborah Banasko

I have been lucky enough to enjoy many theatre shows, but The Lion King has always been the one that I have never quite managed to see, and ironically has always been the one I most wanted to experience.

I was invited to watch the show at Bradford Alhambra, which has amazing transport links, a wonderful auditorium and is always a joy to visit. I took my Mother to watch the show with me, and we both agreed on the journey home that it would be tricky to review without simply gushing! I have never experienced anything quite so amazing at the theatre.

For those who are unfamiliar with the movie, the tale is set in an African kingdom called the Pride Lands. Simba, a lion cub, is born to parents Mufasa and Sarabi and is set to be King one day and rule over the other animals. His Uncle Scar has other ideas, and tricks Simba into believing that he is responsible for his Father’s death, causing Simba to flee in shame. As the pride land deteriorates in his absence under Scar’s rule, will his old friend Nala and his new companions convince him to return home and assume his rightful place as King?

The musical opens to the spellbinding “Circle of Life” as in the movie, but this was in another league to the movie. I have never witnessed anything quite like it. It begins with a single voice on stage, with more voices joining in from around the auditorium. People talk about having goose-bumps, but there were actual gasps and open-mouthed audience members as animal puppets were paraded onto the stage one by one, controlled by cast members and animatronics I would assume; birds, rhinos, an elephant and many more making their way majestically down the aisles as they dominated the auditorium, whilst animal-performers danced and leaped on stage in full costume or working further puppets. It really does have to be seen to be believed, simply breath-taking, and what an opening to a show I just didn’t know where to look first! I actually had tears in my eyes.

Many actors wore head pieces or had costumes constructed around their bodies. Some worked puppets whilst others leaped with antelope structures displayed on their heads and arms. I almost wanted to press pause on several occasions just to absorb the brilliance and take every aspect in, and to try and figure out how on earth the puppets and animal creations were operated.

The finale is a fantastic echo of this introduction, the irony on the Circle of Life was not lost on me here.

The audience is transported to the Serengeti Plains of Africa with the traditional drums, the switch from the browns and yellows of the plains to bursting bright colours of Africa. Pride Rock is key to the show, and it rises from the stage majestically. Scene changes are so smooth but effective as we move between an elephant graveyard to grassland to a buffalo stampede.

I did wonder how they would recreate the stampede scene but it was executed so brilliantly with the use of shadows, and strings to lift the characters into the air. The death scenes of key characters adopted the same approaches, but the addition of dramatic lighting and slow motion made it so believable and captured the key scenes perfectly.

You instantly believe that the puppets are real animals and do not recognise the puppeteers as “people”. The skill required to achieve this should not be overlooked, as it enhances the whole story. Actors remain in character throughout, displaying animal-like habits and movements. The cast isn’t small, and I have no idea where one would source such talented individuals who can sing, dance, act and control intricate puppetry. It’s simply mind-blowing how much talent is on one stage. The shadow puppetry deserves a mention as this helped to link the story, and I have to give a nod do the giraffes leaning over into the audience, just wow!

A scene which I especially loved involved the introduction of the hyenas at the elephant graveyard who were just hilarious. At one point the stage was swarmed with hyenas and it really helped to capture the darkness and fear they exude. The supporting cast adapted amazingly between a variety of characters throughout. The hyenas were involved in one of the numbers written just for the theatre show, Chow Down, and I loved this original song.

“Hakuna Matata” introduced us to the grown up Simba, and the transition from child to adult was beautifully achieved as characters moved to the back of the stage in shadow form and the new Simba emerged. I had to restrain myself from jumping up in applause it was just so joyous.

It feels particularly unfair to mention specific actors as every one was perfectly cast and gave a flawless performance. However I must mention the children who played Simba and Nala in our showing, who I believe were **** (editor’s note – names removed) and ****. You’d be forgiven for forgetting that they were acting as they captured the essence of the lion cubs so perfectly in both dark and light moments. Their rendition of “I Just Can’t Wait to be King”, as they somehow rode brightly coloured puppets with beaming smiles, was one of the most joyous and entertaining performances that I have seen.

I was most surprised by Zazu (played by Matthew Forbes) and Rafiki the Babboon (actor Thandazile Soni) as they weren’t characters that I especially took note of in the movie, but were so central to this show and brought fantastic humour, a balance of light relief and impeccable timing. Soni commanded the stage as Rafiki with her stunning voice and stage presence.

Despite some sad moments in the show, I did spend much of it just beaming and gazing in awe as birds flew above my head and animals leapt in front of me. Many of the numbers were simply joyous, and actors exuded this quality and were the most beautiful ensemble.

I am baffled how anyone could create a show with so much going on and have to applaud the Director and Producer as well as the creative teams; shadow puppetry, costumes, amazing light effects, puppets, leaping and dancing performers, scenery; and this is all happening simultaneously, so the timing every movement was to perfection.

A jaw-dropping conjuring of puppetry, costumes of the like I have never seen in a theatre show, sets to wow an audience and the most wonderful coming together of first class performers and music. Some shows are all about the costumes, some the sets, others are more simple… this show literally throws everything at you all at once, and it works. The Lion King lived up to my expectations and then some, and is worth every penny! Apologies for gushing, but if I could score this show more than 5 stars then I absolutely would.

Rating: 5/5 stars

The Lion King runs from 29th March until 28th May 2022 at the Bradford Alhambra (Morley Street, Bradford BD7 1AJ), and tickets range in price from £22-£81.50.
Tickets can be purchased here https://www.bradford-theatres.co.uk/whats-on/the-lion-king