The thunderous beat of African drums fills the air, and a haunting cry, NANTS INGONYAMA, echoes through the theater.

Suddenly, the stage erupts in a kaleidoscope of color as animals of the savanna—brought to life through ingenious puppetry and elaborate masks—parade down the aisles.

This is how The Lion King begins, and at this moment, I knew I was in for an extraordinary experience that would rekindle my decades-long love affair with this timeless Disney story.

I first fell in love with The Lion King in 1994.

At 24, fresh out of Howard University, Simba’s yearning for adventure resonated deeply with my own ambition and rebellious spirit.

The animated film’s portrayal of Africa—its golden savannas, lush jungles, and vibrant wildlife—stirred something profound within me.

Elton John’s melodies, Hans Zimmer’s score, and Lebo M’s rhythms created a majestic tapestry of sound that has stayed with me for years.

When news of the Broadway adaptation was announced, my excitement reignited.

The prospect of seeing beloved characters through elaborate puppetry, stunning costumes, and dynamic choreography was exciting.

In 1997, The Lion King roared onto Broadway, transforming musical theater. Julie Taymor’s innovative direction, blending African art with Asian puppetry techniques, pushed boundaries and brought African culture to mainstream theater, challenging and expanding audience perceptions.

Although I missed the Broadway show, experiencing it at Houston’s Hobby Center was no less magical.

As “Circle of Life” began, I was transported back to my younger self, yet viewing the story through the lens of the man I’ve become.

The cast breathed new life into characters I thought I knew well.

Gerald Ramsey’s Mufasa was regal and majestic. His commanding presence and rich baritone in “They Live in You” invoked the ancestors and sent shivers down my spine.

Mukelisiwe Goba’s Rafiki filled me with joy, her laughter infectious and her wisdom palpable. She brought both humor and gravitas to the production. At times, she spoke Xhosa to move the story forward.

Her rendition of “He Lives in You” was deeply moving, reminding me of the enduring power of a father’s love.

Jennifer Theriot’s Sarabi was a pillar of strength. Her quiet dignity in the face of adversity left a deep emotional impact on the audience.

Nick LaMedica brought wit and charm to Zazu with puppet work so precise that I often forgot he wasn’t actually a hornbill.

Peter Hargrove’s Scar was villainous, conniving, and funny. I was mesmerized by his performance of “Be Prepared.”

The comedic relief provided by Nick Cordileone as Timon and John E. Brady as Pumbaa was perfectly timed, offering moments of levity that balanced the more serious themes. Their rendition of “Hakuna Matata” had the entire audience singing along.

The hyenas, brought to life by Martina Sykes (Shenzi), Forest VanDyke (Banzai), and Robbie Swift (Ed), were both menacing and hilarious. Their interactions added depth to Scar’s plot and provided some of the show’s most memorable moments.

The young Simba and Nala (Bryce Christian Thompson and Ritisha Chakraborty) tugged at my heartstrings, while Darian Sanders and Khalifa White beautifully portrayed the adult Simba and Nala’s journey from reunion to romance. Their duet in “Can You Feel the Love Tonight” was a tender representation of young love blossoming amidst adversity.

During “Shadowland,” performed with heart-wrenching emotion by White, I found myself deeply moved by the raw pain and determination in her voice.

And as Darian Sanders’ adult Simba grappled with his destiny, I saw myself reflected in his struggle and ultimate triumph.

His journey from a carefree youth to a responsible leader was beautifully portrayed, his voice soaring in “Endless Night” as he wrestled with his past.

What truly set this production apart was its masterful integration of diverse dance styles.

Ballet, modern dance, and traditional African dance fused to create a visual language as expressive as the music itself.

Live African drummers on either side of the stage provided more than accompaniment; they were the heartbeat of the show.

A scene that fully maximized the drumming and choreography was the wildebeest stampede. It combined lighting, sound, and movement to create a moment of genuine terror and tragedy that surpassed even the film version in its impact.

Another great addition to this production is the African-inspired songs. Among these, “Nao Tse Tsa” stood out. This stirring choral piece, which means “The Lion Comes” in Zulu, exemplifies the production’s commitment to honoring African musical traditions.

As I watched the musical, I realized how much my perspective had changed since first encountering this story.

As a young man, I identified with Simba’s desire for freedom and self-discovery.

Now, as a father and mentor, Mufasa’s lessons resonated on a deeper level.

The themes of responsibility, family, and embracing one’s true self spoke to me in ways they never had before.

If I had one critique, it would be the 15-minute delay in the show.

After the opening number, the curtains closed and a voice told us the show would “hopefully” resume shortly.

There was no mention of what the problem was and the audience grew anxious. Keep in mind that this show opened a few days after Houston was hit by Hurricane Beryl. All types of thoughts ran through our heads.

Thankfully, the show did resume and we enjoyed a wonderful experience.

The Lion King is more than just a show that pushes the boundaries of theatrical artistry and explores profound themes. It is a powerful production that touches our hearts and reminds us of our shared humanity.

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