‘The Lion King,’ Now at Playhouse Square, is Record-Breaking for a Reason

Since it premiered on Broadway in 1997, the curtain has risen on “The Lion King” over 13,300 times, making it the third-longest-running show on the Great White Way. While “Phantom of the Opera” and “Chicago” currently top the charts in terms of number of performances, “The Lion King” is the king of profitability, grossing over two billion. Worldwide, the musical has grossed over 11 billion.

If you are not one of the over 110 million audience members who have already seen “The Lion King” and are wondering if a ticket is worth the price of admission, well, the numbers don’t lie.

Based on the 1994 “Hamlet”-inspired film of the same name, Roger Allers and Irene Mecchi’s stage adaptation follows the coming-of-age story of the lion cub Simba. Simba is destined to inherit the throne of Pride Rock, but is exiled after his uncle, Scar, murders the king and seizes control of Simba’s birthright. During his exile, Simba finds friendship in the meerkat Timon and warthog Pumbaa, and finds love in his childhood friend, Nala, all of whom inspire him to return to his home, confront his uncle and attempt to reclaim his throne so that he can restore peace to the Pride Lands.

Led by director Julie Taymor and co-mask and puppetry designer Michael Curry, “The Lion King” is most recognizable thanks to its breathtaking visuals. The anthropomorphic lions, hyenas, cheetahs, giraffes, zebras and other Serengeti wildlife are brought to life using a combination of agile puppetry, expressive makeup and African-inspired costume and mask design. These elements are integrated in such a way that they convincingly portray the 2-D animated figures upon which they were based, while still giving the actors a bit of physical autonomy.

Richard Hudson’s set design deploys a few large-scale set pieces, such as an angular Pride Rock and massive bones for the Elephant’s Graveyard scene, but the backdrops are often minimal in order to allow the puppetry room to breathe. When accompanied by Donald Holder’s lighting design, the plains of the Serengeti are effectively rendered.

The magic lies in the show’s obvious creative vision, which forgoes literal interpretation and embraces clever, African-inspired artistry. The intelligent blend of fabrics, materials, mechanisms and theatrical techniques ensure that there is always something to marvel at; no matter how many times you’ve seen it (the tour has stopped in Cleveland six times already) you will still be awed.

When complimented by Garth Fagan’s mesmerizing, demanding choreography and Elton John and Tim Rice’s catchy music, there is little question as to how the show continues to entertain generation upon generation of audiences.

It’s no surprise that a show of such renown and accolades is stocked with talented performers.

In the role of Rafiki, the kingdom’s eccentric shaman advisor, is the charismatic Zama Magudulela. Having performed in “The Lion King” in over seven countries, Magudulela is no stranger to the work, and her veteran expertise and command over indigenous African languages is obvious.

As Mufasa, David D’Lancy Wilson makes for an honorable, regal king of the Pride Lands, as well as a lovable father figure. In the role of Scar is Peter Hargrave, a graduate of the local Cleveland Play House and Case Western Reserve University MFA program. Hargrave brings a dastardly energy to the notorious villain, as well as a bit of hometown pride to Cleveland.

In the opening night performance, the roles of Young Simba and Young Nala were played by Aaron Chao and Journey Compas, respectively. Both of the talented young actors make for adorable, sweet lion cubs who are playful and bounding with energy. Embodying their grown counterparts are Thembelihle Cele, a powerful vocalist and South African native, as Nala, and Cedrick Ekra, an ensemble member and understudy who donned a lion’s mane on opening night as Simba. While Ekra’s vocals were not as powerful as those deployed by his character’s love interest, the role was still done justice.

Giving life to the recognizable, comedic relief characters are Nick LaMedica as the worrisome, sassy hornbill, Zazu; Nick Cordileone as the bossy meerkat, Timone; and Danny Grumich as the gassy warthog, Pumbaa. These three deliver self-referential bits of comedy that are well received by the family-laden audience.

Much credit is due to the exceptional ensemble, who work tirelessly to bring a menagerie of awe-inspiring animals to life via numerous costume changes (there are more than 300 made over the course of the show) and the execution of rigorous choreography.

The North American tour of “The Lion King” has visited over 90 cities and hosted over 10,000 performances since it first launched in 2002. If you are not one of the over 28 million theatergoers who have witnessed this touring production, now is your chance to contribute to the show’s continuously record-breaking stats. Is it worth it? In the case of “The Lion King,” the numbers don’t lie: this is a spectacle worth seeing.

“The Lion King” runs through Aug. 16, 2026, at Playhouse Square,1501 Euclid Avenue, Cleveland. Visit playhousesquare.org or call (216) 241-6000 for tickets, $36-$216.