The Lion King, currently playing at the Capitol Theatre, remains one of the most instantly recognisable theatrical experiences in the world. Based on the beloved 1994 Disney film, this stage adaptation transforms a familiar story into something visually arresting, using puppetry, costumes, and staging to create an immersive savannah that begins to work its magic from the very first note of “Circle of Life.”
There is no denying the spectacle. Nearly three decades on, the design still feels inventive—giraffes gliding down the aisles, birds sweeping overhead, and performers seamlessly blending human movement with animal physicality. It’s theatre at its most imaginative, and the opening sequence alone reminds you why this production became a global phenomenon. The ensemble carries much of this energy, delivering high-octane performances that feel committed and expansive. Every movement is purposeful, every vocal layered into the rich choral soundscape, and they consistently bring a sense of scale that elevates the production.
However, time hasn’t been entirely kind to all aspects of the show. While some updates have been made in an effort to keep the production feeling fresh, they don’t always land. In fact, a number of these changes feel more like shortcuts than refinements, occasionally undercutting the polish you expect from a production of this pedigree. Given that the core audience is largely millennials who grew up with the original film and its iconic soundtrack, these alterations can feel jarring—small shifts that pull you out of the nostalgia rather than enhancing it.
The principal cast delivers a more uneven experience. Buyi Zama as Rafiki is a clear standout, bringing both vocal power and spiritual grounding to the role. Having performed Rafiki internationally, she brings a confident, deeply lived-in portrayal, anchoring the show with warmth and authority. Nick Afoa brings a regal presence to Mufasa, balancing strength with tenderness, particularly in his interactions with young Simba, played by Dev Raval in this performance. There’s a lovely sense of legacy in Afoa’s casting, having previously played Simba himself in international productions—it’s a subtle but meaningful “circle of life” moment within the company.
Rutene Spooner is another highlight as Pumbaa, injecting humour and heart into the production with a performance that feels fresh and engaging. Yet across the broader principal lineup, there are moments where the show feels under-rehearsed. Scene transitions lag, pacing dips noticeably in parts, and the overall rhythm lacks the precision that would tighten the storytelling. For a production of this scale and reputation, those lapses are hard to ignore.
Interestingly, the depth of experience within the cast—many of whom have performed these roles both in Australia and internationally—may contribute to this slightly fatigued feeling. There’s a sense of familiarity that, while technically proficient, occasionally lacks urgency. The result is a production that feels competent rather than electric.
Ultimately, The Lion King remains an iconic piece of theatre. Its visual language is still breathtaking, and its core storytelling continues to resonate. But while the bones of the production are as strong as ever, some of the magic has dulled over time. It’s still worth seeing for its theatrical innovation alone—but this particular outing suggests that even the most enduring spectacles need a careful balance of preservation and reinvention to truly roar.
– The other Daniel Craig
Daniel Craig is an international performer and has established himself as a trusted theatre specialist on the Sydney Arts Scene. While he understands the technical side of theatre, Dan writes for the everyday theatregoer (unlike some of those more prominent publications). When not in the audience, he loves to travel the world and try new gins.
The Lion King runs for 2 hours and 30 minutes (with a 20-minute interval) and plays at The Capitol Theatre, Sydney, through 30 August 2026. Tickets are available through Ticketmaster.
Disclosure: The Plus Ones were guests of Good Humans PR
Image credit: Daniel Boud
