The Lion King is a sumptuous visual feast – a dazzling display of ingenious puppetry that brings the African savannah to vivid life. While the characters aren’t drawn in any great depth and the show is unashamedly sentimental at times, it’s the inspiring, visual storytelling that captures the heart.

Aphiwe Nyezi as Simba in The Lion King. Photo © Daniel Boud

When The Lion King opened on Broadway in 1997, it was unlike anything that had been seen there before. Reimaging Disney’s hugely popular 1994 animated film for the stage, Julie Taymor created a live production featuring puppetry, masks and costumes that literally took the breath away.

First seen in Australia in 2003 and revived in 2013, the musical juggernaut – which has now been seen by over 127 million people worldwide – is back. Nearly 30 years since its premiere, the staging remains as impressive as ever.

The opening is pure magic as a procession of animals, including an elephant, make their way down the theatre aisles to join others on stage where giraffes, gazelles and birds celebrate the birth of the newborn cub Simba, heir to the magnificent lion Mufasa, the king of the beasts. Drawing on a range of different styles, the actors are clearly visible within the puppetry and masks used to create each character.

Directed by Taymor, who also designed the costumes and co-designed the masks and puppets with Michael Curry, with clever scenic design by Richard Hudson and dramatic colourful lighting by Donald Holder, the theatrical invention is thrilling.

The mythical tale, inspired by Shakespeare’s Hamlet, follows the coming of age of Simba, who finally takes his place as the king of the Pride Lands, following the death of his father Mufasa, who was murdered by his evil brother Scar. Persuading Simba that Mufasa’s death was his fault, Simba goes into exile leaving Scar to usurp the throne. Inviting the scavenging hyenas into the Pride Lands, Scar destroys the kingdom, which is finally saved by Simba’s return. Exploring “the circle of life”, the show doesn’t shy away from the fact that death is part of that cycle.

Daniel Frederiksen as Scar and Nick Afoa as Mufasa in The Lion King. Photo © Daniel Boud

Musically, the show mixes pop songs by Elton John and Tim Rice with African melodies and soaring choral numbers by artists including Soweto-born Lebo M. On paper, it sounds like it shouldn’t work, but the score is engaging and frequently uplifting, soaring under the musical direction of Laura Tipoki.

Some scenes feel a little dragged out – there is probably more of the hyenas than necessary – but there is a nice mix of emotional poignancy and exuberant humour. That said, jokes about Specsavers, Temu and “bin chicken bánh mì” feel out of place.

In 2013, Nick Afoa made an impressive musical debut as Simba. He now returns as Mufasa, giving a rich, warm performance that radiates the heroic character’s dignity, strength, compassion and deep love for his son. His scenes with Dev Raval, who played Young Simba on opening night, are delightful.

Daniel Frederiksen captures Scar’s curdling envy, sardonic humour and ruthlessness, though there’s room for a little more sinister menace. Aphiwe Nyezi as the adult Simba and Emily Nkomo as the adult Nala bring an exuberant energy to their roles.

As the king’s avian adviser Zazu, Benn Welford injects vaudevillian comic relief, while Rutene Spooner and Jamie McGregor nail the humour as the show’s comedy duo, Pumbaa, the flatulent warthog, and Timon, the wisecracking meerkat. Winston Hillyer, Mat Verevis and Ezra Williams also throw themselves into the slapstick comedy of the central hyenas.

Buyi Zama returns to Australia for the third time to play Rafiki, the shaman-like mandrill monkey, and gives an older, wiser, commanding performance.

All in all, it’s a sumptuously staged, joyous production about respecting family, as well as the circle of life and the global ecosystem we share.

The Lion King is playing at the Capitol Theatre, Sydney. More information here.