Elton John: "The Lion King"

"Phantom" is shutting down, and "The Lion King" has a chance to become the longest-running show in Broadway history. (It's fighting against "Chicago," which seems to be doing all right.)

"The Lion King" is a tremendously moving re-write of Howard Ashman's "The Little Mermaid." Although "The Lion King" lacks Ashman's wit and elegance, "King" still packs a punch. It has an intellectually hungry and naive young creature living under the thumb of an intimidating father. Like "Mermaid," "King" has a scheming Claudius-esque figure; the story is a battle between generous forces and greedy forces.

Curiosity also has a role in both "Mermaid" and "King." Ariel can't help but explore shipwrecks and human colonies; these explorations cause Ariel to enrage her father. Little Simba, eager to be the "mane" event, visits the forbidden elephant graveyard; scolded by Dad, Simba says, "I only wanted to be brave like you."

Notably, erotic love is an engine for change in both stories. Ariel's union with Eric allows her to confront her dastardly aunt; it's only after the pairing-off that evil is vanquished. Simba's playtime with Nala is a kind of wake-up call; it's the big love number that pushes Simba to grow up and do his job.

Linking Julie Taymor with Tim Rice was a brilliant Disney move. Taymor's "Circle of Life" is justly celebrated, but we shouldn't forget her reimagining of the wildebeest stampede, her use of shadows, and her way of transforming an entire chorus line into a field of grass, a green "rug" for Simba to dance on. Really wonderful.

I saw Broadway's "Lion King" for a third time last month--and I can understand why it's still around. And, yes, I cried in my seat.

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