On the evening of Friday, October 17, J.W. North High School’s theatre was transformed from a humble school theatre in Riverside, CA, into the expansive and majestic African savanna for the Riverside Children’s Theatre production of the stage adaptation of Walt Disney’s classic hit animated film, The Lion King. An experience that combined youthful talent, bold energy, and an earnest commitment to storytelling and design.

The director, EJ Marquez, has directed The Lion King once before and was also the Education Associate for Disney Theatrical Group, focused on the final steps and development of The Lion King JR. and licensed adaptations. Visually, the production made clever use of the theatre’s modest space. The set pieces were well-designed and functional, with the added bonus of being fully mobile for quick scenery changes. Strong lighting transitions captured dawn on the savanna, the dusty air of the rock gorge, the eerie and macabre atmosphere of the elephant graveyard, and the bright colors of the jungle.

Costumes could only be described as genius. The animal mask headdresses of the lions and hyenas, combined with the African-style dress, took inspiration from the Broadway production of the play, as well as the full-sized animal puppets performed by multiple young actors. Not to mention performers dressed as tall grass and festive, colorful flowers.

But the real stars from an already fantastically thought-out production were the eighty-nine young actors and actresses of Cheetah Company, who brought enthusiasm and heart. The lead, Simba, was played not by one engaging actor but two: Crew Hubbard as young Simba, and Taj Wirtzfeld as adult Simba. Together, this dynamic duo of lions delivered a believable, exuberant arc of the character's journey from carefree, naive prince to fugitive exile, to mighty king. The supporting cast was equally committed: Nala, played by both Cleo Lane and Yvankha Nierras, Mufasa, played by Michael Tsai-Odime, and Scar, played by Ario Sachs, all had moments that landed. However, the performance of Addidon Wright as the wise and playful baboon sage, Rafiki, stole the show, clearly capturing the “wise enough to play the fool” attitude of the character from the original animated film.

Vocal work was solid, especially given the age range of cast members; songs like “Circle of Life” and “Hakuna Matata” were performed with clarity and energy.

One of the show’s strongest aspects was its connection to the community setting. For a theater run by children and teens, in a school auditorium shared with wider academic programs, the intimacy was a benefit. Audiences were near the action, reactions were immediate, and the ambiance leaned toward local pride rather than overproduced spectacle. It was clear this was a community event. Friends and family in the crowd, smiles, cheers, the occasional “go guys!” added warmth.

For a stage production as complicated and visually stunning as The Lion King, one cannot help but take pause in the pleasingly ambitious, well-executed, and emotionally resonant effort by a local children’s theatre. In the day-to-day hustle and bustle of modern life, with its seriousness and commitments, the concept of play sometimes gets pushed to the side. But play is the time when the most authentic, creative, and wondrous things happen, which is why a production like this is called a “play.” When children take delight in their play, it sets in motion the path they chart for themselves later in life. If the children of Riverside Children’s Theatre delighted in their Lion King play as much as the audience delighted in it, it would not be rash and imprudent to suggest that the future of Riverside as an artistic city is bright and in good hands.