Disney’s The Lion King returns to the Buell Theatre with stunning visuals, timeless music and an impressive cast.

Disney’s The Lion King has long held a special relationship with Denver. The Mile High City helped launch its first national tour in 2002, and now, for the sixth time, the Serengeti has returned to fill the Buell Theatre with music, movement and awe.

On opening weekend, families poured into the theatre to relive or experience for the first time the spectacle that has enchanted more than 100 million people worldwide. From its first moments, this touring production makes clear why Julie Taymor’s visionary staging remains one of Broadway’s most beloved creations.

As Rafiki (Mukelisiwe Goba) summons the Pride Lands to life with “Circle of Life,” the entire auditorium becomes part of the ritual. Giraffes stride across the stage on towering stilts, a massive elephant ambles down the aisle and flocks of birds swoop overhead.

Audiences gasp as Pride Rock slowly unfurls from the wings, emerging like a mountain out of mist. It’s a jaw-dropping opening that encapsulates what Taymor does best: using puppetry, masks and costume to blur the line between human and animal.

The visual artistry continues to impress more than two decades after the musical’s premiere. Richard Hudson’s scenic design transforms seamlessly from the golden glow of the savanna to the shadowy depths of the elephant graveyard. Donald Holder’s lighting saturates the stage with sunrise hues and ominous greens, underscoring the moral landscape of the story.

The puppet and mask work by Taymor and Michael Curry remains unparalleled. For instance, the hyenas, operated by actors manipulating both heads and dangling puppet legs, creep across the stage with unsettling realism. Timon’s hand puppet, worn and maneuvered by the actor in bright green to blend into the scenery, creates the illusion of independent life. Pumbaa’s massive body puppet wraps around its actor, lumbering across the stage with comedic heft.

The mechanics of these puppets (and the dozens of others used by the performers) are clever, but it is the performers’ athleticism and precision that truly bring the creatures to life.

Darnell Abraham as Mufasa in Disney’s ‘The Lion King.’ | Photo: Matthew Murphy

Standout performances

Among the performers, Goba’s Rafiki is a magnetic presence. Her opening call electrifies the audience, and she later delivers “He Lives in You (Reprise)” with spiritual force, turning a scene of Simba’s doubt into one of the evening’s most powerful moments.

David D’Lancy Wilson commands the stage as Mufasa, his deep voice and physicality embodying the king’s majesty. His scenes with young Simba balance warmth with authority, making his eventual fall all the more devastating.

Opposite him, Peter Hargrave’s Scar is a deliciously sly villain. Hargrave relishes the role’s sardonic humor, injecting menace and mischief in equal measure. His rendition of “Be Prepared” theatrically underscores the character’s unhinged hunger for power.

Gilbert Domally makes a noble, conflicted Simba, carrying the show through its second act with soaring vocals and feline agility. Thembelihle Cele’s Nala matches him with poise and strength, particularly in her solo “Shadowland,” which builds into an aching anthem of resilience.

The comic relief shines too. Robert Creighton as Timon and Danny Grumich as Pumbaa formed a hysterical double act, nailing “Hakuna Matata” and a cheeky drag-inspired diversion that had the audience roaring with laughter. Nick LaMedica’s Zazu excels at broad comedy, aided by a puppet that allows for playful interaction between bird and handler.

If there was a weak link, it came from the young Simba and Nala, who are played by four pairs of young performers depending on the performance. Though earnest, their vocals occasionally lacked the projection and polish of the adult cast. Still, their exuberance drew cheers from the many children in attendance.

Cheetah and Giraffes as part of ‘The Circle of Life’ number. | Photo: Joan Marcus

Act two slows down

Like the animated film, The Lion King is front-loaded with iconic numbers. The first act, anchored by “Circle of Life,” I Just Can’t Wait to Be King,” “Be Prepared” and “Hakuna Matata,” rarely lets up. The second act, though still engaging, drags slightly by comparison, with fewer instantly recognizable songs aside from “Can You Feel the Love Tonight.”

Yet even in its slower stretches, the production dazzles with technical wizardry. The reprise of “He Lives in You,” where a celestial Mufasa puppet looms in starlight, is a moment of sheer theatrical transcendence. And the final showdown between Simba and Scar, staged with fight direction by Rick Sordelet, packs enough energy to bring the audience to its feet at curtain call — despite a brief two-minute pause mid-battle for a technical issue on the night I attended.

Erick D. Patrick as Simba. | Photo: Matthew Murphy

Theatre for all generations

What struck me most was the intergenerational energy in the Buell. Children called out in delight when animals paraded past their seats, while adults were swept up in nostalgia for the 1994 film.

Unlike many smaller contemporary musicals, this production boasts a massive ensemble of singers and dancers, with over 40 performers filling the stage at once. That scale alone feels rare and invigorating.

It’s no surprise, then, that The Lion King continues to pack houses more than two decades after its Broadway debut. For many young viewers, it serves as an introduction to the magic of live theater. Watching their eyes widen and their voices rise in response to the action reminded me of its potential to serve as a gateway into the communal joy of live storytelling.

Denver audiences have long embraced The Lion King, and its sixth engagement at the Buell proves the bond is as strong as ever. While the second act lags slightly and some elements of the tour staging feel streamlined for travel, the heart of the production remains intact: a breathtaking visual feast matched with timeless music and spirited performances.

By the final bow, as the cast filled the stage in brilliant color and movement, the audience leapt to its feet. Once again, The Lion King had roared to life, and Denver roared back in gratitude.