Looking for TLKoB midis

[HasiraKali]

Me me me me me! Wallace! Could you PM the link? I'm probably more excited than I should be.

[Lion_King_300]

Here's a couple awesome pics from the French production Le Roi Lion - conveniently sized for your desktop wallpaper!

Rafiki

Lionesses

[HasiraKali]

Sweet! I love the lioness one.

[HasiraKali]

Ah, Tim. I see a Scar mask to counted my Simba mask.

Here's a lovely little article about Nathaniel Stampley, the current Broadway Mufasa and former London and Cheetah company Mufasa.

Tune Thursday: Broadway's "Lion King" balances spectacle with intimate storytelling

As this Tony Award-winning musical gets ready to celebrate its 10th anniversary in NYC, Jim Hill chats with Nathaniel Stampley. Who talks about how the sacrifices that his own father made as well as the recent birth of his daughter informs Stampley's performance of Mufasa

It's often been said that one part (To be specific, the right role in the right show at the right time) can make your career on Broadway.

Well, when it comes to Nathaniel Stampley -- the veteran performer who's now playing the part of Mufasa in the Broadway production of "The Lion King" -- Nathaniel literally owes the life that he has today to winning a spot in the first road company of this long-running Disney Theatrical production.

"That one audition opened so many doors for me," Stampley explained. "I met my wife because we were performing together in that show. I got to travel the world. I got to star on Broadway and even became a father. All because I was lucky enough to land a part in the first road company of 'The Lion King."

Mind you, that almost didn't happen. You see, Nathaniel's callback for this Disney Theatrical Production was scheduled for the early part of September of 2001. To be specific, these auditions were being held in NYC just days after 9/11 happened.
"And you have to remember that -- right after the Towers fell -- that the FAA had stopped all commercial air traffic in the U.S. for a few days so that they complete their investigation," Stampley continued. "So there I was, stuck in Chicago. Unable to get down to New York to attend that callback. And I just had to get to that audition, because I knew that being in 'The Lion King' was going to be very important for me. That it could be the break that I was looking for."

Luckily, Natheniel's father came through him. Mr. Stampley offered to drive up from his home in Detroit to Chicago. Then -- together -- father and son would take that 14-hour-trip down to NYC. Doing the whole drive in one straight shot.

Because of his father's sacrifice, Nathaniel actually made it to the "Lion King" callback with just minutes to spare. And now ... To find himself playing the part of Mufasa, a father who puts his own life on the line in order to save his son ... Well, that irony isn't lost on Stampley.

"For all the pomp and spectacle that there is in 'The Lion King,' my absolute favorite moment in this show is when Mufasa and Young Simba are standing alone on stage," Nathaniel said. "Mufasa has just sent Zazu and Young Nala away. And it looks like the King is going to punish his son for disobeying his orders and visiting that Elephant's Graveyard. But -- instead -- Mufasa takes off his crown and talks about how frightened he was that he almost lost Simba. It's not what the audience is expecting. And it's probably the most intimate moment in the show."

To Stampley's way of thinking, it's this scene that really reveals what "The Lion King" is all about. Those all-important lessons that parents hand down to their children about the sacrifices that we sometimes have to make in life.
"You know, I didn't actually become a father until I'd been playing Mufasa for a while," Nathaniel continue. "And I find that -- since the birth of my daughter, Ayana -- that that scene between Mufasa and Young Simba means so much more to me now. Becoming a father, seeing how tiny & fragile my daughter is, I realize that I'm not always going to be here to protect her. Which is why it's so important for me now to try & pass along those life lessons. So that Ayana will grow to become a good person and then pass along those same lessons to her own children one day."

And that tenderness that Stampley feels for his daughter, coupled with the sacrifice that Nathaniel's Dad made in order to make sure that his son made it into NYC in time to attend those 'Lion King' callbacks ... That all informs his performance as Mufasa. Particularly in that scene where the King and his son are standing alone together on stage, looking up into the night sky.

"There are nights when we're doing that scene where the house goes completely quiet," Natheniel marvels. "Where nobody talks, nobody breathes. 1700 people get caught up in this very tender moment between father and son."
People sometimes forget that about Disney's "The Lion King." That -- because of Julie Taymor's amazing stagecraft -- they think of this long-running show as just being a spectacle that's loaded with puppets and elaborate costumes. And don't get me wrong. There is a lot of that stuff in this Tony Award-winning musical.
But in its heart of hearts, "The Lion King" is this intimate show about relationships. The friends who get us through the tough times. The sacrifices that our parents make. Those lessons that get passed down from father to son.
And Nathaniel Stampley tries to hammer home that idea every night as he stands onstage at the Minskoff Theatre. Particularly when Mufasa directs Young Simba's attention up toward the stars. Where -- legends has it -- the great kings of the past look down from the night sky and watch over us all.
Speaking of star-filled nights ... The stage version of Disney's "The Lion King" will be celebrated its 10th anniversary on Broadway later this month with a gala performance which will be on Sunday, November 11th.

It's got some nice pictures too. http://jimhillmedia.com/blogs/jim_hi...rytelling.aspx

[Zaya]

found this article about the London cast a while ago, more about South Africa and music in general, rather than Lion King...but hey...still:

For export: Mzansi's finest
May 22, 2007

By Adrienne Sichel

When Simba, muscles a-ripple, prowls the London stage serenading the stars, it's impossible to tell that actually he's from Soshanguve.

Brian Themba Makiwane is, in fact, he proudly tells me after a Sunday matinee performance of The Lion King at London's Lyceum Theatre, the first South African, in the musical's 10-year history, to be cast as Simba. The count for the female lead of Rafiki is 11.

The young singer and actor's adoration of everything American - he has the accent to prove it - adds to the impression that he is not a homeboy. With his long dreads (not visible in his performance) he could pass for a rapper, but he is an R'nB man who dabbles in producing and is highly critical of instant emcees.

As the conversation gets going with fellow exports Umlazi's Brown Lindiwe Mkhize, from the original Amsterdam company, who sets the Lyceum stage alight with Rafiki's spirituality and KwaMashu's Mabonga Khumalo, one of the original members of the West End ensemble since 1999, the homesickness surfaces.

To remedy their yearning the trio, and some of the other cast members from Mzansi (the current total is eight), have braais.

Although they're very proud of the fact that this Disney musical introduces isiZulu words and expressions to audiences from Putney to Knightsbridge (not excluding the national and global tourists) at these get togethers they speak their native tongue and "reminisce about the old days".

It was fascinating to realise that these musical theatre pros weren't trained at any university. Between them they either gained experience as gospel singers at church, with Joyous Celebration, and/or learned the ropes with Mbongeni Ngema.

They are fierce custodians of their cultural traditions which they have great pride in sharing with multicultural audiences. Adding to their isolation from the motherland is the fact that compatriots never come backstage. At one performance Brown Mkhize was shocked, and delighted, to hear a "Yebo" being called out in response.

London is their home, but they try to come home every two years. On Makiwane's last visit he was touting his R'nB album single, A Part of Me. He grew up hearing R'nB and was highly irritated when he was told this musical genre wasn't African enough .

Mabongwa, whose Committed Artist's credentials started with Ngema's Township Fever and whose voice is on the original soundtrack recording of The Lion King, joined in with stories about musicians being rejected at home for the same reasons and "Boom!" they make it as African artists abroad. "It should be about the music, all music."

They all feel strongly about the need for performing artists, "those with and without international profiles", to be recognised and respected at home… "I don't want to blow my own horn," stresses Makiwane, "but we need to be recognised just like the British and Americans (are in South Africa)".

Equally, they are incensed that icons the calibre of the late Gibson Kente and Mbongeni Ngema aren't honoured with the equivalent of MBEs and OBEs - while they are still alive. They are excited and intrigued about the 10th anniversary production, with an all-South African cast which opens the Montecasino Teatro on June 6 - "It just shows that South Africa has hot talent."

The two men are very supportive of, and complimentary about, Mkhize, who radiates authenticity in the sangoma-esque role of Rafiki.

"She brings her own flavour," is the satisfied verdict.

That's not surprising because, young as she is, she did her time in Mbongeni Ngema's Academy of Performing Arts, appearing in musicals from 1996 to 2004.

Among her credits are The Zulu, Maria Maria, Stimela sase Zola and the disastrous 2004 collaboration, Sing Africa Dance.

"People will recognise me," she says gently. "Now I've got The Lion King they don't know where I am. They are supposed to support us."

"It seems we are outsiders at home," they agree sadly. Maybe that anonymity will change now that there is a reference point with the Teatro Company. Perhaps the public (and the media) will realise just what the hefty number of homegrown performers have achieved over the years from Broadway to the West End, and in-between in Amsterdam, Hamburg, Shanghai, Sydney, Toronto and from October, in Paris.

Talk about export gold.

[HasiraKali]

This gave me a chuckle.

November 8, 2007 -- "LION King" audiences at the Minskoff have been sniffing the sweet scent of marijuana. It turns out the pot-head fans of former Grateful Dead bassist Phil Lesh, who's doing a nine-day stint at the Nokia Theater next door, were lighting up. "The smoke was so thick it was seeping through the wall and into the Disney audience, and they started complaining," a spy at Monday's show told The Post's Bruce Golding. "The ushers are now very vigilant and making sure nobody lights up." A Nokia rep admitted there were complaints. The Minskoff had no comment.

[imported_kiara]

.. couldnt that have happen a month ago?

[Shatara]

Indeed XD

Doesnt surprise much, as both venues are in the same building

[imported_kiara]

*has already poke that fact out couple of times and showed number of pics* .. you just dont give up blab about that funny coincident, do you

[HasiraKali]

So... no TLKoB gala tonight. If you haven't heard, there's a stagehand strike going on, starting yesterday, and TLK was one of the shows affected. The good thing is, Broadway strikes don't seem to last that long. The last one only lasted four days. So here's hoping that everything will be resolved soon.

[imported_kiara]

whyz it a strike going on O.o

[HasiraKali]

I haven't been able to find out why, but it has something to do with union meetings that were taking place with new members but not with older members.

[imported_kiara]

.. but oookey :Ooo:

[Shatara]

Originally posted by kiara
*has already poke that fact out couple of times and showed number of pics* .. you just dont give up blab about that funny coincident, do you

Nevar

[imported_kiara]

Fine

Well .. glad it *didnt* happen a month ago mebby anyway .. then maybe this strike would have not given us a show Tho .. im not sure if this strike is in all theaters? Or .. ?

[HasiraKali]

It's all but eight shows. Xanadu, Mary Poppins, Young Frankenstein, 25th Annual Putnam County Spelling Bee, Pygmalion, The Ritz, Mauritius, Cymbeline are still running. The strike has to do with pay scales and working conditions at the theaters. Not all of them are affected, and it has nothing to do with the producers of the shows (Disney Theatrical for example). It has to do with the contracts that the theaters themselves set up with the union workers they have to hire for the shows. It's complicated.

[imported_kiara]

when theres a strike, everything involved is complicated ..

[Lion_King_300]

Wow, I couldn't believe it when I read that - TLKoB going dark? But it was much more than just that show - all but 8 were closed and continue to be, including Mermaid which just opened.

The stagehands union had obviously been planning this for a long time and chose to do their thing when it would really hurt everyone. Just imagine the tens of thousands of people that had tickets for these shows months in advance, some making special trips to NYC just to see the performance, and now all these people have to be turned away.

I'm afraid that they may use this as an excuse to raise the price of Broadway tickets even higher to compensate for lost revenue, they're already pretty astronomical.

And this couldn't have happened at a worse time for Lion King - all ready for their big 10th anniversary performance and even dedicating one of the most recognizable landmarks in the United States to the show:

ESB Honors Lion King

This obviously was a last-resort scenario for negotiations that simply couldn't be agreed upon, but the real losers are the public - those families whose children have been waiting for months and maybe even years to see TLKOB only to find when the special day comes a bunch of angry people are marching in the street... my heart goes out to those families.

I do understand the stagehands' perspective but you really have to think of all the others in this situation that you're deeply affecting, and now that's its been done get through it as fast and humanely as you can and don't stall (like they're still doing now) so the show(s) can go on.

------

And btw great articles Hasira_Kali and Zaya! I especially like the one about Nate Stampley - Jim Hill does excellent work in his blog - I read it for about 2 hours straight last night.

[imported_kiara]

hm .. yea, REALLY glad this didnt happen a month ago now o.o;; Its like exactly a month ago in 4 days and ive been wanting to see show in so many years .. its a scary thought.

I hope this will be solved very soon

[HasiraKali]

In this case, I kind of side with the producers. They way the union's set up now, they have to pay stagehands for a minimum of four hours of work, even if they're just moving a piano, which takes a few minutes. They're also required to pay them for a certain number of hours each week, regardless of if they work or not. It's really kind of messed up. Bloomburg offered to help pay them, but they refused. I really feel bad for the actors who aren't getting paid during this.