By This beloved musical, which has captivated over 100 million hearts worldwide, is preparing to enchant a new generation of theatregoers starting November 2.
It features a cast of 51 talented performers, Canadian stars and Broadway veterans alike—and a groundbreaking crew that has taken over two floors of a Toronto school for rehearsals.
Canadian actress Camille Eanga-Selenge (Nala), South African actor Aphiwe Nyezi (Simba) in rehearsals for The Lion King. Photo by Wade Muir
The school is abuzz with Black creatives—from showrunners and musicians to wardrobe, hair and makeup artists—and it’s as if Pride Rock has been transported to the halls of academia.
The circle of theatre life
“The circle of life is more than just a song in the show,” says Canadian actress Camille Eanga-Selenge, who plays Nala, Simba’s childhood friend and eventual love interest.
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“It reflects the community we've built backstage, which audiences see represented on stage through the animals and the pride.”
The spirit of the original Canadian production, which closed its curtains in 2004, seems to watch over this new incarnation, like the great kings of the past gazing down from the stars. That groundbreaking run created hundreds of jobs, launched the careers of dozens of local artists, and injected an estimated $1.4 billion into the economy. Now, as the circle of life turns once more, a new generation prepares to roar.
“For me, it resonates deeply. After auditioning multiple times and being part of the ensemble, coming full circle from the national tour to playing Nala in my home country feels incredible. Having worked in the U.S., performing this role at home truly embodies the circle of life for me. It’s an amazing journey.”
For Canadian co-star David D’Lancy Wilson, playing the wise lion king Mufasa is a profound role in more ways than one—it’s a representation of Black excellence and fatherhood.
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"This character carries a deep sense of responsibility," says Wilson. "It's not just about portraying Mufasa; it's about living up to the lessons he imparts, both for my audience and my own children. The privilege of this role resonates profoundly, on and off stage."
Stepping into such an iconic role isn't without its challenges—especially when following in the footsteps of the late James Earl Jones, whose commanding bass voice defined Mufasa in the 1994 film.
David D'Lancy Wilson (Mufasa) with Salvatore Antonio (Scar) in The Lion King. Photo by Wade Muir.
"When we started the audition process, I was initially intimidated by the character of Mufasa. It became a journey of self-acceptance, allowing my true self to shine through. I've been fortunate to have great male influences in my life—from coaches to my father—and I've infused those characteristics and my own experience as a father into this role. In a way, I've always embodied aspects of Mufasa. Understanding the character was more about accepting that connection within myself."
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Behind the curtain
While Wilson and Eanga-Selenge bring their roles to life on stage, a quiet revolution unfolds behind the curtain. Erica Croft, breaking new ground as the first Black Head of Department for Hair in The Lion King's Canadian production, is crafting a legacy as vibrant as Simba's mane.
"This is my dream role," says Croft, her 25-year wait palpable in every word. "I'm not just styling hair; I'm educating, advocating, and ensuring Black hair and skin receive the royal treatment they deserve."
As the sun rises on Pride Rock once again, Toronto’s theatre scene stands ready to witness the dawn of a new era, where diversity shines both on and off stage. In this great circle of theatrical life, The Lion King proves that the legacy of storytelling, much like the African savanna itself, is ever-renewing, ever-inspiring, and always spectacular.
The Lion King opens at the Princess of Wales Theatre on November 2 and runs through April 27, 2025.
