Taymor’s adaptation is uniquely hers even though there are notable contributions from many other artists. The songs by Elton John and Tim Rice have a number of fine moments with a strongly atmospheric sound. Rice's lyrics are sharp and effective, brimming with his trademark anachronisms and with the additional pleasure of material intended to go over the heads of all but the most precocious children in the audience and entertain the adults (Just how many children will catch the line "Its an honor and privilege, this duty I perform with due sense of decorum and with pride / With deference and great respect the norm, with a touch of sycophancy on the side?") Additional musical materials combine to enhance the content of the original score. The book by the co-creators of the screenplay is efficient if slight and there are performances by an extremely talented troupe who work hard.

The Lion King on stage is definitely Julie Taymor’s vision, from the moment the lights dim. She took a marvelously visual movie and converted it into a unique visual experience, which is tied more to the origins of theater as spectacle than theater as literature. From leaping antelope to lumbering elephants, from living savanna grasses to draught dried lakes, from burning suns to sparkling stars, from leering hyenas to crying lionesses, from flying buzzards to flitting fireflies, from towering rock formations to looming monster skeletons, from scampering shadow puppets to visages of the Lion King himself, there is a new marvel at every turn.

The show was conceived as one that wouldn't be dependent on the performances of big name stars. Instead, it requires performers with the skills and the dedication to provide energetic, stylish and impressive performances. Of the original leads only Tom Alan Robbins is performing the role he originated on opening night - he's Pumbaa the wart hog. Patrick Page, who received the 2006 Helen Hayes Award for Outstanding Lead Actor for his work in Othello at the Shakespeare Theatre Company is now holding forth as a thoroughly despicable Scar - the regicidal brother of Mufasa the Lion King. The orchestra in the pit seems to have more tenacious tenure. Of the 23 players, sixteen were in the pit the first night we reviewed the show which was over five years ago. The overall sound of the orchestra in this new house is just as impressive as ever. The combination of great musicianship in the pit, solid performers on the stage and Julie Taymor's unique vision still delivers a uniquely thrilling theatrical experience.