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The Lion King Music and Songs
The music of The Lion King: "It still gets me every time"
The music of The Lion King is nothing if not eclectic. Although rooted in Africa it shows influences from the worlds of classical, pop, rock, gospel and many more different genres.
Clement Ishmael has been with the London production from the very beginning, and says he has always been astounded by the breadth of the score. “But it still has this cohesion to it,” he continues. “I find that fascinating, and unique. The whole gamut is in there, and it just seems to work.”
The show features a rich tapestry of songs and compositions, including from pop legend Elton John, film composers Hans Zimmer and Mark Mancina, record producer Jay Rifkin, and South African composer Lebo M, together with lyricist Tim Rice.
From the iconic opening rendition of ‘The Circle of Life’, which begins with the solo, spine-tingling acapella voice of Rafiki, through new numbers such as ‘Shadowlands’ and ‘Endless Night’, to the orchestral sweep of the climactic battle, it creates a distinct, all-encompassing sound.
Ishmael explains that the a core ingredient lies in its “South African energy”. A major part of this comes from the percussion, which is housed both in the orchestra pit and in two boxes either side of the auditorium. He explains that director Julie Taymor wanted the audience to be “enveloped by Africa”; and so they are.
Percussionist Damien Manning has been a regular with the London production since 2009. He explains the attention to detail of every instrument, to ensure an authentic sound. “I play nearly 40 instruments over the course of the show. Some of the traditional African drums, such as the djun djun and djembe, can be traced back to the 13th century. They go back to the very foundation of music.”
Ishmael says Taymor was fastidious about every aspect of the production. “As with the beading on the costumes, or the hand-printed silks, her attention to detail translated to the music. We have 19 different flutes, for example. Everything is so intricately layered.” The Lion King in London still features 17 musicians, as it did at its first performance.
Manning adds that the acoustics of the historic Lyceum theatre, which was built in 1765, contribute to the impact of the sound. “I’ve stood right at the top of the grand circle, and you can hear people whispering when they’re on stage. These old theatres have been built with so much knowledge. The harmonics are amazing – the music resonates through your whole body.”
As well as the famous opening, he describes ‘The Lioness Hunt’ and Nala chasing Pumbaa as being “magical” moments in the show from a percussion standpoint. “When you have vocals and dance and drumming, that still just gets me every time,” he says. Ishmael lists Nala’s song ‘Shadowland’ as his personal favourite, as it speaks to his choral background.
These songs were new additions for the stage incarnation. Several featured on the Platinum-selling album Rhythm of the Pride Lands, which Lebo M wrote with Rifkin and Zimmer in 1995 following the release of the film. As BBC Music Magazine put it, The Lion King is “a story carried by music”, and the new material all enhances that journey.
Ishmael says it is up there with the finest scores in musical theatre. “It’s really complex and interesting music, that’s really when constructed. As a conductor it requires you to be able to conduct classically but also have a good rhythmic feel.”
Manning concurs, labelling it “a masterpiece”. “It’s also daring to blend all these musical styles together,” he adds. “And that’s what music can do in a way that nothing else can. The music of The Lion King was way ahead of its time, it says ‘we are one’.”
This feeling of togetherness is echoed in the words. A range of African languages including Swahili, Xhosa and Zulu, are heard alongside English. “It all has meaning,” says Ishmael, “and even though the audience may not understand the words they feel them. We take care to ensure the actors understand what they’re singing, so they can communicate these ideas.”
He admits that, when he was first approached about getting involved with The Lion King, he was planning to give up on musical theatre to pursue composition. Did he ever imagine that 24 years later he would still be working on it? “Never. It’s crazy – and for me it’s a testament to the quality of both the production and the music. I couldn’t do it otherwise. And it’s not like it’s frozen in aspic, it’s an ongoing process.”
Manning too says he never stops finding new things to enjoy in music that he now knows like the back of his hand. “From where I sit in the box I can see the audience, I can feel their reactions. That emotion is amazing… This music touches us like nothing else can.”
