Latest news with #Tony-award-winning
Calgary Herald
14-07-2025
- Entertainment
- Calgary Herald
Review: Broadway Across Canada's The Lion King a fully immersive experience
To see the 2025 version of The Lion King now on stage at the Jubilee Auditorium is to enjoy a full-mind-and-body, totally immersive experience. Article content Settling into your seats, you'll notice two musicians with large African drum kits on either side of the stage preparing for their roles, a thrilling hint of what's to come. But when Rafiki the mandrill (Mukelisiwe Goba is wise and mysterious in the role) welcomes the future king Simba to the rolling plains of Tanzania as a score of animals (including an elephant) parade down the aisles of the theatre and on to the stage, audience members feel at one with the rocky outcrops and swaying grasses of the Serengeti. Performers on stilts as giraffes are shadows against the red-orange sky; antelope mounted atop multi-wheeled bicycles spring effortlessly across the landscape. Article content The imagination is completely engaged. In an era dominated by endless, exhausting, digital noise, this feels like no less than a miracle. Article content Article content Over almost 30 years, the multiple Tony-award-winning Disney story of the lion cub Simba exiled following the death of his father king Mufasa has grown into an integral part of the musical theatre canon. As the third-longest-running and the highest-grossing show on Broadway (pulling in $1.8 billion by 2023), it's fast becoming a tale as old as time. Article content And for good reason. Soulful, upbeat tunes by Elton John and Tim Rice combine with Julie Taymor's impressively expansive touch as director and costume designer alongside breathtaking choreography by Garth Fagan to marry a simple coming-of-age story with the powerful history, music and landscape of Africa. The result lodges stubbornly in the heart. Article content Article content The first act of the show reveals the Shakespearean tension between Mufasa (the warmly paternal Darnell Abraham) and his brother, Scar (Peter Hargrave is perfect as the two-faced, scheming villain). The young Simba of this production (Julian Villela in the show I saw Saturday night) plays the open-hearted boy cub with all the boisterous bravado the role requires, falling easily into the murderous plot executed by Scar and his henchmen, a circling hackle of hyenas that terrify and amuse by turns. The African red-billed hornbill Zazu (Drew Hirshfield in a pitch-perfect representation) provides enough levity in the first act to keep the little ones in the audience from feeling too despondent. Article content Article content Article content But it is the second act in which the humour of The Lion King takes off as Simba fights to assume his rightful throne with the encouragement of his friends. The meerkat Timon (with Canadian-born Robert Creighton behind the puppet) and warthog Pumbaa (Danny Grumich) are hilarious; a robust series of fart jokes delights the family-forward audience. Yet there is room for the brave acts, and the love story between Simba and Nala to unfold.
Vancouver Sun
14-07-2025
- Entertainment
- Vancouver Sun
Review: Broadway Across Canada's The Lion King a fully immersive experience
To see the 2025 version of The Lion King now on stage at the Jubilee Auditorium is to enjoy a full-mind-and-body, totally immersive experience. Settling into your seats, you'll notice two musicians with large African drum kits on either side of the stage preparing for their roles, a thrilling hint of what's to come. But when Rafiki the mandrill (Mukelisiwe Goba is wise and mysterious in the role) welcomes the future king Simba to the rolling plains of Tanzania as a score of animals (including an elephant) parade down the aisles of the theatre and on to the stage, audience members feel at one with the rocky outcrops and swaying grasses of the Serengeti. Performers on stilts as giraffes are shadows against the red-orange sky; antelope mounted atop multi-wheeled bicycles spring effortlessly across the landscape. The imagination is completely engaged. In an era dominated by endless, exhausting, digital noise, this feels like no less than a miracle. Get top headlines and gossip from the world of celebrity and entertainment. By signing up you consent to receive the above newsletter from Postmedia Network Inc. A welcome email is on its way. If you don't see it, please check your junk folder. The next issue of Sun Spots will soon be in your inbox. Please try again Interested in more newsletters? Browse here. Over almost 30 years, the multiple Tony-award-winning Disney story of the lion cub Simba exiled following the death of his father king Mufasa has grown into an integral part of the musical theatre canon. As the third-longest-running and the highest-grossing show on Broadway (pulling in $1.8 billion by 2023), it's fast becoming a tale as old as time. And for good reason. Soulful, upbeat tunes by Elton John and Tim Rice combine with Julie Taymor's impressively expansive touch as director and costume designer alongside breathtaking choreography by Garth Fagan to marry a simple coming-of-age story with the powerful history, music and landscape of Africa. The result lodges stubbornly in the heart. The first act of the show reveals the Shakespearean tension between Mufasa (the warmly paternal Darnell Abraham) and his brother, Scar (Peter Hargrave is perfect as the two-faced, scheming villain). The young Simba of this production (Julian Villela in the show I saw Saturday night) plays the open-hearted boy cub with all the boisterous bravado the role requires, falling easily into the murderous plot executed by Scar and his henchmen, a circling hackle of hyenas that terrify and amuse by turns. The African red-billed hornbill Zazu (Drew Hirshfield in a pitch-perfect representation) provides enough levity in the first act to keep the little ones in the audience from feeling too despondent. But it is the second act in which the humour of The Lion King takes off as Simba fights to assume his rightful throne with the encouragement of his friends. The meerkat Timon (with Canadian-born Robert Creighton behind the puppet) and warthog Pumbaa (Danny Grumich) are hilarious; a robust series of fart jokes delights the family-forward audience. Yet there is room for the brave acts, and the love story between Simba and Nala to unfold. Part of the genius of The Lion King, which has been in Edmonton once or twice before, is its seemingly effortless ability to construct a living world before your very eyes. The audience feels surrounded by the colour and vibrancy of the savannah as the stage roils with dancers dressed as trees, plants, birds and startlingly large mammals. The soaring cliff that provides so much drama rolls effortlessly on and off the stage; the wildebeest rampage is heart-stopping. Rivers seem both deep and wide. The technical scaffolding of the show is mind-boggling. Yet the stagecraft never supersedes the humanity of The Lion King. People, well, animals, are always at the centre of the story. There is sadness and squabbles, but also jubilation and jokes. While the show's commercial priorities are never in doubt, it pays homage to its African inspiration. Six indigenous African languages can be heard in the show's spoken words and music, and several cast members were born in Africa. The Lion King features an ensemble for the ages with more than 50 singers, actors and dancers, plus another three dozen stage professionals within the crew. That doesn't even count the 10 musicians in the orchestra conducted by Karl Shymanovitz. If it takes a village to raise a child, well, perhaps it requires a similarly sized theatrical commitment to bring a musical classic to eternal life on stage. Words and music by Elton John and Tim Rice and book by Roger Allers and Irene Mecchi Director: Julie Taymor Where: Northern Alberta Jubilee Auditorium, 11455 87 Ave. When: Through July 27 Tickets: From $64 at or by calling 1-855-985-4357. Tickets can also be purchased in person at the box office at the Jubilee Auditorium. Check for applicable hours at Bookmark our website and support our journalism: Don't miss the news you need to know — add and to your bookmarks and sign up for our newsletters here. You can also support our journalism by becoming a digital subscriber. Subscribers gain unlimited access to The Edmonton Journal, Edmonton Sun, National Post and 13 other Canadian news sites. Support us by subscribing today: The Edmonton Journal | The Edmonton Sun.
Edmonton Journal
14-07-2025
- Entertainment
- Edmonton Journal
Review: Broadway Across Canada's The Lion King a fully immersive experience
To see the 2025 version of The Lion King now on stage at the Jubilee Auditorium is to enjoy a full-mind-and-body, totally immersive experience. Article content Settling into your seats, you'll notice two musicians with large African drum kits on either side of the stage preparing for their roles, a thrilling hint of what's to come. But when Rafiki the mandrill (Mukelisiwe Goba is wise and mysterious in the role) welcomes the future king Simba to the rolling plains of Tanzania as a score of animals (including an elephant) parade down the aisles of the theatre and on to the stage, audience members feel at one with the rocky outcrops and swaying grasses of the Serengeti. Performers on stilts as giraffes are shadows against the red-orange sky; antelope mounted atop multi-wheeled bicycles spring effortlessly across the landscape. Article content Article content The imagination is completely engaged. In an era dominated by endless, exhausting, digital noise, this feels like no less than a miracle. Article content Over almost 30 years, the multiple Tony-award-winning Disney story of the lion cub Simba exiled following the death of his father king Mufasa has grown into an integral part of the musical theatre canon. As the third-longest-running and the highest-grossing show on Broadway (pulling in $1.8 billion by 2023), it's fast becoming a tale as old as time. Article content And for good reason. Soulful, upbeat tunes by Elton John and Tim Rice combine with Julie Taymor's impressively expansive touch as director and costume designer alongside breathtaking choreography by Garth Fagan to marry a simple coming-of-age story with the powerful history, music and landscape of Africa. The result lodges stubbornly in the heart. Article content Article content The first act of the show reveals the Shakespearean tension between Mufasa (the warmly paternal Darnell Abraham) and his brother, Scar (Peter Hargrave is perfect as the two-faced, scheming villain). The young Simba of this production (Julian Villela in the show I saw Saturday night) plays the open-hearted boy cub with all the boisterous bravado the role requires, falling easily into the murderous plot executed by Scar and his henchmen, a circling hackle of hyenas that terrify and amuse by turns. The African red-billed hornbill Zazu (Drew Hirshfield in a pitch-perfect representation) provides enough levity in the first act to keep the little ones in the audience from feeling too despondent. Article content Article content Article content But it is the second act in which the humour of The Lion King takes off as Simba fights to assume his rightful throne with the encouragement of his friends. The meerkat Timon (with Canadian-born Robert Creighton behind the puppet) and warthog Pumbaa (Danny Grumich) are hilarious; a robust series of fart jokes delights the family-forward audience. Yet there is room for the brave acts, and the love story between Simba and Nala to unfold.
The Independent
18-03-2025
- Entertainment
- The Independent
Suzie Miller's buzzy play ‘Prime Facie' is also a book – and Jodie Comer narrates it
Suzie Miller wrote the award-winning show Prima Facie after 15 years of working in law and listening to victim testimony. Now, Jodie Comer is set to reprise her role in the buzzy play as it goes on tour next year. After debuting in pre-covid Australia, Prima Facie premiered in the West End in 2022. Starring Jodie Comer and with composition by Self Esteem, the show went on to win best new show and best actress at the Lawrence Olivier Awards before opening on Broadway. It then broke box office records when it played in cinemas for NT Live – unsurprisingly a film is now also in the works. 'It is a huge privilege to return to Prima Facie for one last time,' said Comer. 'I can't think of a better finale to what has been such an incredible and deeply rewarding chapter in my life.' The tour will begin in London on 23 January 2026, before visiting cities across the UK and concluding in Comer's hometown Liverpool on 21 March. Inspired by Miller's experience as a criminal defence lawyer in sexual assault cases, the play follows Tessa, a criminal defence barrister who specialises in defending men accused of sexual assault. Then, she was assaulted herself. As Tessa tries to get justice for her own rape, Miller drives home how the legal system consistently fails women in court. To bring it to a wider audience, Miller turned the hit play into a novel last year. She dedicated it to 'all the women who comprise the 'one in three'', referring to a line in the play's powerful script about the number of women who are sexually assaulted in the UK each year. If you're yet to see the play or want to revisit Tessa's story, here's where you can buy the book version of Suzie Miller's Prima Facie – plus the audiobook narrated by Jodie Comer herself. A novelised version of the award-winning play, Miller's Prima Facie pads out the court drama. A successful barrister who's disguised her working-class roots in a male-dominated world, she specialises in getting men acquitted from sexual assault trials. But when the tables are turned and a date with a colleague goes horribly wrong, Tessa is forced to question the lies she's built a career on. If your gearing up to see Jodie Comer's one-woman turn in the play on tour, get a flavour of what to expect with the audiobook (£12.99, Narrated by the Tony-award-winning actor in what's sure to be an equally powerful performance, the audiobook delves deeper into Tessa's story.
