We thought we were going to see a children’s show, we were afraid of a Disney marshmallow that was too strong… Our fears disappeared at the speed of a sunrise. The Lion King on stage exudes tremendous inventiveness and opens up an imagination that appeals to all ages. No wonder this musical is playing for its seventh season at the Théâtre Mogador in Paris. We come away seduced, because this journey into the African savannah plunges us into a theatrical universe populated by puppets, masks, shadow puppets, laughter and emotions, and offers a visually stunning spectacle, a thousand miles from the big ones. cuddly toys and the sometimes kitsch universe of the American studio.
After attending the Lion Kingwe only want one thing: to know behind the scenes of this high-precision artisanal work. Because the means deployed to bring to life the story, with Shakespearean echoes, of these animals – 50 artists, including 14 children, around a hundred technicians, ten musicians, a conductor – are impressive. So we went to sneak through the corridors, into the workshops and under the stage of the Mogador Theater, to take stock of the machinery necessary for such an adventure. It’s like diving into a human hive in the middle of an organized maze of shelves, boxes, racks, hanging decorations. “The great complexity of this show lies in the coordination and organization, in maintaining quality with so many people”estimates Laurent Bentata, general manager of Stage Entertainment France, the company which owns Mogador (1,600 seats) and produces The Lion King In France.
Ingenious and expressive puppets
For this imposing device to work, “the choreography behind the scenes is as precise and rigorous as that on stage”confides Olivier Breitman. This actor plays with panache the lion Scar, the traitor and cunning brother of King Mufasa and uncle of the lion cub Simba. Between the makeup, the dressing and the technical installation (battery, motor and cables) intended to animate his mask thanks to a small box hidden in the palm of his right hand, a preparation of an hour and a half is necessary before his entry on stage. “At first, I was worried that I wouldn’t be able to manage this mechanic while playingtestifies Olivier Breitman. I have over 20 kilos on me, but that helps with the character. » It took him two months of rehearsals to completely master the technique and handling of the mask, which he can rotate, raise, lower… “It has become the natural extension of my body”he summarizes.
You have 69.63% of this article left to read. The rest is reserved for subscribers.
