Behind the magic of the 鈥楲ion King鈥� puppetry
When 鈥淭he Lion King鈥� takes the stage at the Benedum Center starting next Wednesday, audiences will quickly understand why the production has captivated theatergoers for decades.
Beyond the talented singers, actors and dancers are the creative professionals working behind the scenes to bring the spectacle to life. One of those individuals is Michael Reilly, the puppet supervisor who helps ensure that every lion, elephant and giraffe moves with the precision and artistry audiences have come to expect.
Decades of experience
For a profession Reilly says he 鈥渇ell into,鈥� he has certainly mastered it.
鈥淚 went to a technical school because I love working with my hands,鈥� he said. That passion led him to theater, where he worked as a costume assistant on the original Toronto production of 鈥淐ats.鈥�
From there he worked on such productions as 鈥淭he Phantom of the Opera,鈥� 鈥淢iss Saigon鈥� and 鈥淟es Mis茅rables鈥� and more. He has been with 鈥淭he Lion King鈥� since 2000.
Today, Reilly oversees eight different styles of puppetry, including full-body puppets, multi-person puppets and what is known as Pumbaa puppetry鈥揳 complex puppet that weighs 45 pounds and is worn like a backpack, resting partially on the performer鈥檚 shoulders.
The overseer
It鈥檚 Reilly鈥檚 job to oversee 230 puppets in the show.
鈥淚 fix, repair and repaint as necessary,鈥� he said, giving credit to Julie Taymor and Michael Curry, who designed the costumes.
Taymor鈥檚 innovative work earned her a Tony Award for Best Direction of a Musical, making her the first woman to win the honor in that category.
鈥淚t took them an entire year to finish them,鈥� Reilly said, explaining that the designers had to translate the animated characters into a live stage experience by studying how animals move.
The creative team also understood that the characters would work well as animal/human hybrids.
鈥淚t allows them to switch back and forth. Mufasa talks to Simba as a human, for instance,鈥� Reilly said.
Wardrobe malfunctions
Thinking on one鈥檚 feet and keeping one鈥檚 head when characters are losing theirs is just part of the job.
鈥淗eads have come loose, legs have fallen off. I鈥檝e seen all of it,鈥� he said.
Reilly emphasizes the importance of being on time because the wow factor begins almost immediately.
鈥淲e start off with the song, 鈥楾he Circle of Life,鈥� where 50 puppets are onstage at the same time. You can鈥檛 miss it,鈥� he said.
One of the most memorable malfunctions transpired at the very beginning of the show, necessitating a quick save by actors. An elephant walked down the aisle then attempted to climb the stairs. It fell over, leaving the four people inside unable to get up.
Fortunately, the performers carrying the birds jumped in to save the day.
鈥淭hey managed to grab the puppet by the spine and lift it back onto the stairs,鈥� said Reilly.
Physically demanding
None of the actors, singers and dancers brought on were hired as puppeteers, according to Reilly.
鈥淲e teach them,鈥� Reilly said. 鈥淭here are lots of heavy dance numbers, along with tons of choreography and training.鈥�
Performers must learn how to communicate emotions through the puppet鈥檚 movement.
鈥淭hat鈥檚 a very important thing they learn in rehearsal,鈥� he said.
The suspension of disbelief
One of Reilly鈥檚 favorite parts of production is the willing suspension of disbelief.
鈥淚n our show, many members of the audience start out viewing the characters as humans. Then, because our cast is so masterful, they begin viewing the inanimate objects as the characters,鈥� he said. 鈥淚t surprises some people.鈥�
Children, in particular, connect with Simba and Nala鈥檚 journey as they learn bravery and get into trouble along the way.
After all these years, Reilly still finds something special in the production.
鈥淭here鈥檚 so much there,鈥� he said. 鈥淚 think there鈥檚 something for everyone. It鈥檚 one of the greatest shows on Broadway. If you don鈥檛 like musicals, you鈥檒l love it鈥揳nd if you do, you will.鈥�
鈥淭he Lion King鈥� will be at the Benedum Center through Sept. 27. For information, go online to trustarts.org.