‘The Lion King’ Brings Disney’s Magic to the Hippodrome

Photo: Matthew Murphy

Adapted to the stage from the hit 1994 Disney animated film with the same title, The Lion King, makes its way to Baltimore for a 3-week run as part of its long-running national tour. With imaginative costumes and masks, sterling puppetry and artistry, powerful and soaring choreography, dazzling lighting and special effects, and a superbly talented cast, the production can only be described as spectacular.

From the iconic opening number “Circle of Life” whereby a new lion cub Simba is introduced to the other animals in Africa’s Pride Lands and until the very end of the show, the presentation is jaw-dropping. Key to the story, which is loosely based on William Shakespeare’s Hamlet, the circle of life represents an ordered sequence of life events that comes full circle and repeats itself.

In that number, performers are magnificently costumed or are operating puppets with masks, ropes, rods wires and stilts representing a menagerie of African animals in a parade down the theater’s aisles to the stage. The elephant alone, operated by four humans, could be the size of Oriole Park. All these animals and more embody the show’s characters. Even birds and fish are depicted.

Produced by Disney Theatrical Group, The Lion King is one of the most popular stage musicals in the world. Since its premiere on November 13, 1997, 28 global productions have been seen by over 112 million people. The show garnered 6 Tony awards in 1998 including Best Musical. It is Broadway’s third longest running show in history and the all-time highest grossing Broadway production.

The score features Elton John and Tim Rice’s songs from the animated film along with three new songs by John and Rice; additional musical material by South African Lebo M, Mark Mancina, Jay Rifkin, Julie Taymor and Hans Zimmer.  There is an infusion of African words in the songs and in the dialogue. The book was penned by Roger Allers and Irene Mecchi. Featured are two of John’s more popular songs, “The Circle of Life” and “Can You Feel the Love Tonight”. Other notable songs include “I Just Can’t Wait to Be King,” “Be Prepared” with extraordinary choreography, and the first act finale, the peppy “Hakuna Matata”.

Photo: Deen Van Meer

On the night of this performance, Kyle Shymanovitz was the conductor of the orchestra that did a fine job in presenting the music with its significant African influence. In that vein, percussion musicians are situated on the theater’s side balconies to produce those drumbeats.

Director Julie Taymor imaginatively translated the film to the stage. Not only did she helm the show, where she won a Tony Award, she also designed the amazing and extraordinarily detailed costumes, masks and puppets herself. In collaboration with her scenic designer Richard Hudson, lighting designer Donald Holder, and hair and makeup designer Michael Ward, Taymor created a uniquely lavish spectacle.

The story follows the life lessons of Simba, a young, curious and energetic cub (played by a charismatic Bryce Christian Thompson on the evening this performance was reviewed). His father Mufasa (played strongly by Darnell Abraham) who is king of the Pride Lands in Africa’s beautifully rich savanna region, offers life’s lessons to young Simba.

When he warns the young cub to avoid leaving the Pride Lands, Simba, egged on by Mufasa’s brother and Simba’s uncle Scar, leaves the acceptable boundaries and visit the forbidden elephant graveyard. Scar, played convincingly and with a dose of campiness by Peter Hargrave, is the antagonist in the story in that he sees Simba’s presence as getting in the way of his ambition to be the king.

Photo: Joan Marcus

(Scar is an interesting and seemingly familiar character. He desperately wants to be king. He will use any means to attain that title and hold on to power when he eventually seizes it. His mind is unstable, deteriorating, and he is weak. He is narcissistic. He lies, he cheats, and he makes bold promises (to hyenas) but doesn’t keep them but uses them as tools to further his aims. And he is hated. Hmm.)

Back to the story. With his female cub friend Nala (Jaxyn Damasco for this performance) in tow, Simba heads for the graveyard where he is threatened by three hyenas, Shenzi, Banzai and Ed (played by Brinie Wallace for this performance, Forest Vandyke and Sam Linda, respectively. Mufasa rescues them but he admonishes Simba and reminds him that bravery and bravado are two different things, and he will be guided by the great kings of the past.

"...the production can only be described as spectacular."

Meanwhile, Scar conspires with the hyenas to kill Mufasa and then Simba so he can ascend to the throne. Scar starts a wildebeest stampede and tells his brother that Simba is caught in it. Mufasa saves him but Scar pushes his brother back into the stampede and kills him. Scar falsely tells the young cub that it is Simba’s fault his father is dead and urges him to run away. He sends the hyenas to kill Simba with the hyenas telling him that he is dead and returns to Pride Rock to take the throne.

Simba escapes but collapses from heat exhaustion in the desert. As vultures circle overhead, Simba is rescued by Timon the meerkat (Nick Cordileone) and Pumbaa the warthog (Danny Grumich). They take him to their home in the jungle where there are no rules or responsibilities and plenty of bugs to eat. These two have largely comedic roles and are wonderful in their playfulness. 

Simba grows up to be a strapping, defined and muscular, er, lion (played marvelously by Erick D. Patrick). Under Scar’s reign, the Pride Lands deteriorated into a drought-stricken wasteland. The hyenas are outraged over the lack of food. After Scar’s desire to make now grown-up Nala (Thembelihle Cele) his queen, she rejects him and searches for help.

Photo: Matthew Murphy

Timon needs to be rescued from a waterfall but Simba freezes in fear. In singing “Endless Night” Simba is inspired by the spirit of his dead father who is watching over him and saves Timon. Pumbaa is being chased by a lioness, and again Simba does the rescuing. He recognizes her as Nala. She implores Simba to return to the Pride Lands and restore the circle of life.

Raifki (Mukelisiwe Goba), a spiritual and quirky baboon or mandrill and a trusted associate of Mufasa urges Simba to return home and the spirit of Mufasa does the same. Upon Simba’s return, he confronts Scar, and during an altercation the villain tumbles off Pride Rock to a waiting pack of hungry hyenas.

Simba assumes his rightful place as king and he and Nala produce a cub of their own, thus completing the circle of life.

The entire cast and Ensemble display excellent vocals and dancing ability. As dancers, they showcase their athleticism, timing and grace executing the powerful African-influenced choreography by Garth Fagan.

The Lion King is a remarkable production with all the elements in place to justify its reputation for excellence. The majesty, artistry and performances are unique and breathtaking.  The opening number is worth the price of admission alone. But do stay for the remainder of the show and enjoy how the circle of life endures despite its many challenges with eye-popping imagery.

Running time. Two hours and 30 minutes with an intermission.

Disney’s The Lion King will play through Sunday March 2 Tuesdays through Thursdays at 7:30 p.m., Fridays at 8 p.m., Saturdays at 2 p.m. and 8 p.m. and Sundays at 1:30 p.m. and 6:30 p.m. Tickets will be available here, Ticketmaster. or in-person at the Hippodrome Box Office (12 N Eutaw Street) Monday through Friday, 11 a.m.to3 p.m. and show days 11 a.m. until show time. Groups of 10or more should contact BaltimoreGroups@BroadwayAcrossAmerica.com or by calling (888) 451-5986,

Disney’s ‘Frozen’ Turns on the Warmth at the Hippodrome

Caroline Bowman as Elsa. Photo: Deenvan Meer

The Merriam-Webster Dictionary defines spectacle as “something exhibited to view as unusual, notable, or entertaining especially an eye-catching or dramatic public display.” The dictionary should also list Frozen, the 2018 stage musical adaptation of the 2013 Walt Disney Oscar-winning animated film now playing at the Hippodrome Theatre, as another definition of spectacle. That is because spectacle is what this show is.

Under the direction of Michael Grandage, choreography of Rob Ashford and musical direction from Conductor Faith Seetoo, the production is well-performed by a talented cast and incredibly staged.

With unbelievable lighting design (Natasha Katz), special effects (Jeremy Chernick), projections (Finn Ross), magnificent scenery design and construction as well as the scintillating costumes (Christopher Oram) the word spectacle is an understatement. There were moments that I simply said, “wow.”

Creating ice and snow on a theater stage is no easy task. Sure, the animated film with its artistry and technical prowess can do that with aplomb. For the stage, Disney’s magic takes over, and the audience is treated to a visual display that must be described as breathtaking.  At one point in the show, there was so much sparkly ice depicted in the scenery and on the stage, I expected a Zamboni to roll across it.

The stage version, making its North America tour, provides additional depth to the characters and expands the song catalogue from 8 to 20. With music and lyrics by Kristen Anderson-Lopez and Robert Lopez, and book by Jennifer Lee, the songs from the original film are wonderful. The added songs are pretty good and are primarily bolstered by the splendid vocals that bring them to life.

"...a visual display that must be characterized as breathtaking."

There is a lot of energy in the show though there are moments when the action slows down because of extended dialogue. And at times the volume for some of the dialogue could be dialed up a notch. But these quibbles don’t detract from what is otherwise a superb production.

 Frozen is an endearing fairy tale that the young and the not so young will enjoy. The story focuses on two orphaned sisters, Elsa and Anna, who are princesses in a Scandinavian kingdom. Their relationship is torn apart when Elsa cannot control her powers in which she can turn everything into ice. When Elsa accidentally hurt her younger sister Anna while building a magical snowman Olaf, that’s when the problems become real.

Years later, Elsa is depressed because she cannot rein in her powers, which left the town of Arendelle (not to be confused with Arundel) in a state of eternal winter.  She remains guilt-ridden for hurting Anna and fears she has become a monster. Elsa heads to the icy mountains and builds an ice palace in order to cope with the situation.

Anna with the help of three friends, the kind-hearted Kristoff; Olaf, the adorable, crowd-pleasing snowman (puppet) whom the sisters built; and Sven, the equally adorable reindeer (also a puppet), go on an adventure-filled trek to find her sister to help restore summer to Arendelle.

Prior to that journey, Anna had fallen for Hans, a handsome prince, who becomes an important figure at the show’s end. But it is the love and bond between the two sisters that warms the heart enough to melt the prevalent ice.

A native of Fulton, Md. in Howard County, Caroline Bowman excels as the adult Elsa. An experienced and polished performer in such Broadway and touring shows as Wicked, Grease, Spamalot, Evita and Kinky Boots among others, Ms. Bowman demonstrates solid acting skills and powerful mezzo-soprano vocals in conveying her burdened character. She belts out the first act finale, Oscar winning “Let It Go,” the popular girl-power anthem, to perfection. Ms. Bowman hits it out of the park with another quality number in the dramatic song “Monster.”

Lauren Nicole Chapman is wonderful as the adult Anna who is determined to find her sister and renew their love for each other. She falls in love with Hans (Will Savarese) only to be betrayed later on. Not all princes are princes apparently. Their duet in the comical “Love Is an Open Door” with its terrific choreography is one of the show’s best. Ms. Chapman and Ms. Bowman hook up well in the emotional “I Can’t Lose You,” a song added to the stage version. The chemistry between the two sisters is amazing.

As Kristoff, the ice harvester who joins Anna on her quest to find Elsa, Dominic Dorset is excellent. With his loveable reindeer Sven (Collin Baja who alternates with Dan Plehal in a physically demanding role) in tow, Mr. Dorset’s character finds himself increasing attracted to Anna.  He performs well in “Reindeer(s) Are Better Than People,” “Kristoff Lullaby,” and a duet with Ms. Chapman in “What Do You Know About Love?”

Jeremy Davis is superb as the puppeteer for the snowman Olaf. Both Olaf and Sven are clear audience favorites, especially for the kids in attendance, and provide much of the comical moments throughout.

Christine Bowman as Elsa & Lauren Nicole Chapman as Anna
Photo: Matthew Murphy

Will Savarese does a fine job as Hans. With his matinee idol looks, Mr. Savarese is convincing as the prince that Anna falls for. But his dark side emerges later, leading to a dramatic conclusion. His strong tenor voice is notable in “Hans of the Southern Isles” and the aforementioned duet with Ms. Chapman in “Love Is an Open Door.” He also performs well with Ms. Bowman and the company in “Monster.”

Also, excellent performances are turned in by Avelyn Choi (alternates with Norah Nunes) as Young Anna, Sydney Elise Russell (alternates with Erin Choi) as Young Elsa, Belinda Allen as Queen Iduna, Kyle Lamar Mitchell as King Agnarr, Gretel Scarlett as Head Handmaiden, Tyler Jimenez as Pabbie, Taylor Marie Daniel as Bulda, Jack Brewer as Bishop, Evan Duff as the comedic Weselton, and Jack Brewer as another comical character Oaken. The members of the Ensemble are also talented and energetic.

If you pay close attention, you can identify components of the show that are reminiscent of such Broadway standouts as The Wiz, Into the Woods, Spamalot and Beauty and the Beast, and that’s a good thing.

There is no question that Frozen is geared towards children.  In fact, there were many young girls in the audience dressed as Elsa and Anna, and the lines to the Disney and Frozen merchandise in the lobby were long. However, there is sufficient humor, warmth, songs, dancing and dazzling scenery and costumes to entertain adults as well. And entertain it does.

Go see the spectacle known as Frozen. It will melt your heart.

Running time. Two hours and 15 minutes with an intermission.

Disney’s Frozen runs through June 18 at the Hippodrome Theatre at the France-Merrick Performing Arts Center, 12 N. Eutaw St, Baltimore, MD 21201.  For tickets, call Ticketmaster at 800-982-ARTS or visit ticketmaster.com or BaltimoreHippodrome.com.

‘The Hunchback of Notre Dame’ at Toby’s is a Bell Ringer

Photo: Jeri Tidwell Photography

As Disney animated films go, The Hunchback of Notre Dame is not your typical treat for children and others who crave magical moments with happy-ever-after endings, such as Beauty and the Beast, The Little Mermaid and Frozen.  Rather, The Hunchback of Notre Dame, based on the classic novel by Victor Hugo, is on the darker side of the Disney spectrum with few jolly and uplifting moments.  

Nonetheless, the 1996 film was a commercial success, and its rich score with music by Alan Menken and Stephen Schwartz (the only time these iconic composers collaborated on a project) earned an Oscar nomination.  Peter Parnell penned the book.  #hocoarts

In spectacular fashion, the animated film comes to life at Toby’s the Dinner Theatre of Columbia.  Co-directed by Helen Hayes Award winners Toby Orenstein and Mark Minnick with the music direction of Ross Scott Rawlings, the scrupulously staged and wonderfully performed production should position this show for Helen Hayes recognition next year.

Set in 15^th century Paris, a deformed baby is born to carefree Jehan Frollo (played by Justin Calhoun) and a gypsy named Florika (Louisa Tringali).  The baby is handed off to Jehan’s brother, Dom Claude Frollo (Russell Sunday), the powerful and devious Archdeacon of the famed Notre Dame Cathedral, who reluctantly agrees to take care of him.  Because of his new charge’s grotesque looks, Frollo confines the boy to the cathedral’s bell tower and names him Quasimodo.

As he grows up, Quasimodo (Sam Kobren) becomes physically strong and is the cathedral’s bell-ringer but experiences a deep sense of loneliness and isolation.  His imagination allows for gargoyles and statues in the bell tower to come to life and urge him to find his own path.  

While Paris revels in the Feast of Fools, Quasimodo escapes his imposed imprisonment to enjoy the festivities for one day.  At first, he is innocently gawked at for his appearance but then things turn nasty as the crowd humiliates him. Quasimodo is eventually rescued by a beautiful gypsy dancer Esmeralda ( Jessica Bennett). Frollo, who is on a mission to rid Paris of gypsies, sends Quasimodo back inside the cathedral.

Quasimodo becomes enchanted with Esmeralda and her free spirit but he has competition. Dashing Captain Phoebus (Jeffrey Shankle) who is Captain of the Guard falls for her as well as Dom Claude Frollo who is conflicted by his religious beliefs and his desire for Esmeralda.  Quasimodo emerges as the unlikely savior for all.

The story of The Hunchback of Notre Dame is relatable today: certain groups of people are scapegoated and treated harshly; individuals who are different are marginalized. During their ordeals, they attempt to find their inner strength to fight back. What transpires are the manifestations of these conflicts, and I will leave it there for the audience to experience.

Jessica Bennett and Sam Kobren Photo: Jeri Tidwell Photography

In the end, we are all people who seek love and acceptance regardless of our religion, race, physical ability, gender, sexual orientation, or country of origin. The story in The Hunchback of Notre Dame reinforces this truth.

Scenic Designer David A. Hopkins provides the appropriate atmosphere for this production.  Bells hanging from the ceiling complete with sand bags for balancing are a fine touch.  Stain glass windows and candelabras as well as Gothic-designed banisters and other accessories add more flavor.  Then you throw in fog effects and the environment is complete.

Under the co-directors' guidance, the staging of the show is superb.  Scene changes occur swiftly and seamlessly as large set pieces are moved in and out without any distractions.  Every nook and cranny of the available in-the-round space and on two levels are utilized by a large cast that is perpetually in motion. This effect allows members of the audience to feel they are right in the middle of the action.

Lighting Designer Lynn Joslin offers the right illumination for scene changes and dramatic moments, but despite the fact there were no high levels of incandescence in the 15^th century, the lighting during many moments in the production seems a bit on the dark side. 

Corey Brown’s sound design is perfect as the cast is well-mic’d.  The seven-piece orchestra ably supports the performers without drowning them out.

Janine Sunday fitted the company with an array of extraordinary  period costumes from the gypsies to the soldiers to the clerics. However, the costumes for the gargoyles and the statues could be more identifiable. If you are not familiar with the story, it would not be obvious that the initial dialogue between Quasimodo and these characters were imaginary.  Other than that small quibble, the costuming is fantastic.

This production is very well-cast, and the individual and collective performances alone make the show a must-see event. While dancing is not a major feature of the show, it is executed meticulously, guided by choreographer Mark Minnick in the high-tempo numbers “Topsy Turvy (Part 2)” and “Tavern Song.” Moreover, the large cast is constantly moving around the stage, which requires expert choreography. Mr. Minnick and the company deliver impressively.

When songs are performed by the entire 24-person cast, you will get goose bumps, I promise. Perfect pitch and harmony with resounding finishes are displayed in these group numbers, which comprise most of the selections. You will really feel you’re in a large cathedral.

Individual performances shine as well. Sam Kobren reprises his role as Quasimodo from his performance in The Hunchback of Notre Dame presented by the Toby Orenstein-founded and -directed Columbia Center for Theatrical Arts production a couple of years back.  He is even better today. 

An exceptional tenor voice carries him through such challenging songs as “Out There” and “Heaven’s Light.”  Mr. Kobren’s outstanding acting skills are also evident exhibiting a wide range of emotions from melancholy from being lonely to joy when in the presence of Esmeralda to rage when he confronts Frollo. He is a stunningly versatile performer.

As the gypsy Esmeralda, Jessica Bennett is also excellent. A Helen Hayes Award nominee, Ms. Bennett effectively conveys the compassionate and free-spirited nature of her character.  Her soprano voice is silky and performs beautifully in such numbers as “Top of the World” and “Someday.”

Russell Sunday as Frollo  Photo: Jeri Tidwell Photography

Jeffrey Shankle, as the rather cocky but charming, Phoebus de Martin, brought his talent to a new level. Always dependably strong in Toby’s productions, his powerful tenor pitch-perfect vocals soared like I’ve never previously heard.  Most of his selections are part of group performances, and he is particularly solid in “Rest and Recreation,” “Rhythm of the Tambourine” and the sparkling duet with Ms. Bennett in “Someday.”

Russell Sunday does a creditable job as the villain Dom Claude Frollo who becomes Quasimodo’s caretaker and attempts to wipe out the gypsies.  His attempt to woo Esmeralda leads to a tragic conclusion.  Mr. Sunday’s solid baritone is featured in the duet with Mr. Kobren “Out There” and in the solo “The Assault.”

The remainder of the cast with most playing multiple roles turn in superb performances especially vocally.  They include: Justin Calhoun, Louisa Tringali, David Bosley-Reynolds, DeCarlo Raspberry, Noah Beye, Matty Montes, Adrienne Athanas, Heather Beck, Brandon Bedore, MaryKate Brouillet, Coby Kay Callahan, Camille Capers, Samantha Deininger, Crystal Freeman, Sylvern Groomes, David James, Santina Maiolatesi, Christian Montgomery, Beth Rayca and Taylor Witt.

The Hunchback of Notre Dame at Toby’s is an extraordinary production that captures your imagination from centuries past while serving as a reminder that many of the same human issues exist today.  The performances and staging are stellar, the buffet scrumptious, and the experience is fulfilling on all levels.  Don’t miss this one. It's a true bell-ringer.

Running time. Two hours and 30 minutes with an intermission.

The Hunchback of Notre Dame runs through May 19 at Toby’s, the Dinner Theatre of Columbia, 4900 Symphony Woods Rd., Columbia, MD 21044.  Tickets may be purchased by calling the box office at 410-730-8311 or visiting online.