How many lighting cues in the lion king

Mufasa: I'm only brave when I have to be. Simba: But you're not scared of anything. Mufasa: I was today. Mufasa: Yes Mufasa: Mm-hmm. Simba: I think those hyenas were even scareder. Come here, you. He picks Simba up and starts giving him a noogie. Mufasa: Hmm? Simba: We're pals, right?

Simba: And we'll always be together, right? Let me tell you something that my father told me Look at the stars. The great kings of the past look down on us from those stars. So whenever you feel alone, just remember that those kings will always be there to guide you And so will I.

As we move into the cave, we first hear Banzai's voice and eventually see Banzai and Ed together with Shenzi to the side. I won't be able to sit for a week! Ed continues, biting himself in the leg. Shenzi: Look at you guys. No wonder we're dangling at the bottom of the food chain. Shenzi: Shyeah? You know, if it weren't for those lions, we'd be runnin' the joint.

Banzai: Yeah. Man, I hate lions. Shenzi: So pushy. Banzai: And hairy. Shenzi: And stinky. Banzai: And man, are they Shenzi and Banzai: UuuugLY! Banzai: Ohh. Shenzi: We were afraid it was somebody important. Banzai: Yeah, you know, like Mufasa. Shenzi: Yeah.

Scar: I see. Banzai: Now that's power. Shenzi: Tell me about it. I just hear that name and I shudder. Banzai: Mufasa. Do it again. Shenzi: Ooooh! It tingles me. Scar: I'm surrounded by idiots. Banzai: Not you, Scar; I mean, you're one of us.

I mean, you're our pal. Shenzi: Ohh, I like that. He's not king, but he's still so proper. Hey, hey. Did ya bring us anything to eat, Scar, old buddy, old pal? Scar: I don't think you really deserve this. It wasn't exactly like they was alone, Scar.

Scar: Precisely. They were originally a monologue of Scar trying to decide on using the Hyenas or not. These were cut presumably to allow for the earlier entrapment of the cubs being credited to Scar. The monologue does, however, appear on the soundtrack.

They're crude and unspeakably plain. But maybe there's a glimmer of potential If allied to my vision and brain. For what? Scar: For the death of the king. Banzai: Why? Is he sick? And Simba too. Who needs a king? No king! Scar: Idiots! There will be a king! Banzai: Hey, but you said, uh Scar: I will be king! Shenzi and Banzai: Yaay! All right! Long live the king! With a king who'll be all-time adored. Be prepared for the murkiest scam Oooh Respected, saluted And seen for the wonder I am Yes, my teeth and ambitions are bared Oo-oo-oo-oo-oo-oo-oo Be prepared!

All Even Ed, who can be heard growling and snarling an approximation of the lines : Yes, our teeth and ambitions are bared Be prepared! Scar and the hyenas are laughing evilly. Drum roll rises to a crash coinciding with the panoramic opening of the next scene. Cloud shadows scroll slowly over the landscape. Your father has a marvelous surprise for you. Scar and Simba are near a rock, underneath a small tree.

Scar: If I told you, it wouldn't be a surprise, now would it? Simba: If you tell me, I'll still act surprised. Scar: Ho ho ho. You are such a naughty boy. Simba: Come on, Uncle Scar. Scar: No-no-no-no-no-no-no. This is just for you and your daddy. You know, a sort of I'd better go get him. Simba: I'll go with you.

Just stay on this rock. You wouldn't want to end up in another mess like you did with the hyenas Scar: Simba, everybody knows about that. Scar: Oh, yes. Lucky Daddy was there to save you, eh? After a distance of rock, we reach the edge and view on the plain a very large herd of wildebeest; the size of the herd comes across with a striking computer-generated parallax pan.

The camera then focuses in on the hyenas Shenzi, Banzai, and Ed , who are waiting off of the edge of the herd, hidden under a rock arch. Banzai: I can't help it. I'm so hungry Shenzi: Stay put. Banzai: Well We wait for the signal from Scar. He growls at it. Simba then jumps down and tries again. Simba's roar echoes around the canyon.

Shot of Simba lifting his ears to relish the echo. The echo is soon eclipsed, however, by a low rumble. Simba looks down and sees pebbles jumping. Cue the very sinister "To Die For" music. We see the herd coming over the lip of the gorge. Dramatic multi-layer camera pull up to Simba's terrified face. Simba takes off in front of the herd.

Camera switch to Mufasa and Zazu a short distance from the canyon. Mufasa: Odd In the gorge. Simba's down there! Mufasa: Simba? He is running and climbs up a dead tree. Zazu flies ahead of Mufasa and Scar, down into the canyon.

He spots Simba. Help me!! Zazu: Your father is on the way! Hold on! Zazu flies back to Mufasa and points out where Simba is. On that tree! Mufasa: Hold on, Simba! What will we do? I'll go back for help, that's what I'll do, I'll go back for he--oomph! Mufasa runs with the herd till slightly past the tree. He whips around the front of some wildebeest and runs into the herd towards Simba's tree. He gets rammed head-first once, throwing him to the ground.

A wildebeest hits Simba's tree, throwing Simba into the air. Mufasa gets up in time to catch Simba in the air with his mouth. He gets hit again and accidentally throws Simba. Simba dodges a few oncoming wildebeest. Mufasa runs by with the herd and grabs Simba. He jumps up to a near rock ledge and sets Simba down, but is immediately struck by a wildebeest and carried off into the stampede.

At the last second, Mufasa leaps out of the herd and starts to climb with great difficulty up the sheer rock slope. Simba turns and starts to climb up to the top of the gorge. Out of Simba's sight, Mufasa reaches a point right below a ledge where he can't climb due to the steepness.

His claws are scraping and his back paws have no traction. Above him on the ledge is Scar. Help me! Mufasa roars, primarily from the sudden pain of Scar's claws, but no doubt also due to the sudden flash of realization. His expression slowly changes to one of horror as he recognizes Scar's intent. Mufasa free-falls, back first. The camera follows Mufasa down from under him, then from above him, showing the stampede raging below. No sound effects of the hit. No view of it either. Mufasa and Simba's screams mingle.

Everything is clouded by dust. Simba bounds to the canyon floor. Mufasa is nowhere to be seen. The wildebeest curves around a log further down the gully. Under the log is Mufasa, laying on his side. He is not moving or breathing.

Simba approaches the body. Sad musical theme. Again we notice how small Simba really is. Dad, come on. We gotta go home. Again the head limply moves back in place. Simba runs off a bit, obviously very scared. Simba turns back to the body. He nuzzles up under the limp paw so that his father is embracing him. Pause for effect. What have you done? I didn't mean for it to happen. No one But the king IS dead. Another thought "occurs" to Scar. What will your mother think? Scar: Run away, Simba.

Run away and never return. Slight pause, for the audience to catch its emotional breath. Music ends. The three hyenas appear behind Scar. Simba is chased up the entire length of the gully. He reaches the lip only to see a sheer drop on the other side. Having no choice he jumps and tumbles down into a patch of briars below. The hyenas pursue the entire way. When the are running down towards the briars, Banzai sees them and recoils. Banzai: Whoa!!

He heaves a sigh of relief. Then Shenzi and Ed run into him, propelling him into the bushes. There he goes! Shenzi: There ain't no way I'm going in there. What, you want me to come out there looking like you? Cactus Butt? Shenzi: Well, he's as good as dead out there anyway. And IF he comes back, we'll kill him. If you ever come back, we'll kill ya!!! The Hyenas make their way off the cliffs back to the Pride Lands. Some of them, with Zazu, are comforting Sarabi, who bends her head in extreme pain.

Nala is rubbing against her mother's paw, crying. For me it is a deep personal loss. So it is with a heavy heart that I assume the throne. Yet, out of the ashes of this tragedy, we shall rise to greet the dawning of a new era The scene changes with Rafiki in the same position.

He is in his tree house. After wiping away a tear, he reaches up and rubs his hand across the cub painting, smearing it. The camera changes. The painting, smeared, is overlaid on Simba laying out in the hot desert sun.

One descends, then all. They circle around it. With a blast of music, Timon riding Pumbaa appears and dives into the midst of the buzzards. They slap and kick the buzzards all away. Get out! Get outta here! Pumbaa: I love it! Bowling for buzzards! Hey Timon. You better come look. I think it's still alive. Timon: Ewww He is lying with his paw over his face. He can't. He gets under it and with a great push gets it above his head.

He sees Simba's face. Move it! Pumbaa: Hey, Timon. It's just a little lion. Look at him. He's so cute, and all alone! Can we keep him? We're talking about a lion. Lions eat guys like us. Pumbaa: But he's so little. Timon: A--huh! That's the stupidest thing I ever heard. Maybe he'll b Hey, I got it!

What if he's on our side? You know, having a lion around might not be such a bad idea. Pumbaa: So we keeping 'im? Timon: Of course. Who's the brains in this outfit? Timon: My point exactly. Jeez, I'm fried.

Let's get out of here and find some shade. Simba has been laid near the water. As The Lion King moved around Australia — it completed its Australian season in Perth in late February — an Old Scotch Collegian has been in charge of the music for this blockbuster musical theatre masterpiece, and has thrived in the role. The chance to play with an orchestra is pretty rare for students of that age, so I am very grateful for those opportunities.

In his final year at Scotch Richard won an exchange scholarship to Germany, and also spent some time in England where he had been born gaining work experience. Further study has included a Victorian College of the Arts Improvisation course, a Music Masters degree at Melbourne University, a graduate diploma in Music Technology at Latrobe University, and private study with musicians and teachers, including Dobbs Franks conducting , Bruno di Michelis piano and Paul Grabowsky piano.

His first musical was Five Guys Named Moe in Melbourne in the mids, which featured a six-piece jazz band on stage. His first conducting opportunity came on Crazy for You, which featured the music of George Gershwin. He sees his work on The Lion King as the highlight of his professional career. Discover how various people in the theatre work together to bring a show to life. Investigate the various cues that take place on stage, backstage and in the house. Reflect on the various sessions and accomplishments of The Lion King Experience , and put everything together for a final performance.

Skip to main content. Introduce theatre to your classroom today! Explore, Create and Share the arts with this easy-to-use, multi-media program. Restrictions may apply. Casting Cast Size: Large 21 or more performers. A wise mandrill who acts as healer of the Pridelands and guides Simba on his journey home. She is an omniscient character, evincing an air of mystery. Rafiki has significant solos in "Circle of Life" and "He Lives in You," and leads the African chants throughout the show, so cast a confident performer with a strong singing voice.

The ensemble plays various inhabitants of the Pridelands, such as giraffes, elephants, antelopes, wildebeest, and other creatures you choose to include.

This group can have as few or as many performers as your production permits. Be sure to cast many strong singers. The strong, honorable, and wise lion who leads the Pridelands. Mufasa should command respect onstage and also show tenderness with his son, Simba. Cast a mature actor who can convincingly portray the king. A featured lioness, Mufasa's mate, and Simba's mother.

Sarabi has a few key speaking lines for an actor who can deliver the care and command of a queen. The anxious yet loyal assistant to Mufasa who is always busy trying to do his duty. Zazu's lyrics are spoken rather than sung, and the role can be played by a boy or girl.

The antagonist of the show, overcome with jealousy of his brother, Mufasa, and nephew, Simba. Coldhearted and wickedly intelligent, he will stop at nothing to become king of the Pridelands. Cast a mature performer who can bring out this villain's dark side while handling Scar's sarcastic sense of humor. As his solos can be spoken, opt for an actor over a singer. The protagonist of the story, is an adventurous and endearing cub who can't wait to be king of the Pridelands.

Simba is playful, energetic, and naive, but after his father Mufasa's death, Simba struggles with shame and his destiny. Cast a strong singer and dynamic performer in this role. Grows from a cub to lion in "Hakuna Matata. Be sure that the change in actors is clear: Try having Young Simba hand-off a costume piece, such as a medallion, to older Simba. Also be sure that Simba and Young Simba share a movement vocabulary. Depending on the complexity of your choreography, particuarly for "The Lioness Hunt," strong dancers may be desirable as well.

A courageous lion and Young Simba's best friend. She is not afraid to speak her mind. While Young Nala does sing a little, look for a strong female performer who can portray this confident cub. Grows from a cub to a lioness before she confronts Scar, so cast a more mature actress to play the character beginning in Scene 10, As with older Simba and Young Simba, ensure that this switch in actors performing a single role is clear.

Direct the actors to share a mask or costume piece that distinctly represents Nala, as well as a movement vocabulary.

A featured lioness and Nala's mother.