Lion King Sensory Guide R

CONFERENCE ON CREATIVITY Sensory Guide for the Sensory Friendly Performance of Disney's The Lion King October 13, 2020 10:00AM Conference on Creativity Conference Hall 3 The performance takes place at the Paramount Theatre in Seattle, WA. Seating is stadium style, with two center aisles and an aisle on the outside. RunTime: The show has two acts and a 18 minute intermission. ACT 1 is approximately 70 minutes. Act 2 is 60minutes. Overall time is 2.5 hours The Sensory Friendly Show will have decreased volume and amplification. House Lights which are usually off during a performance, will also be on dimly. Content Considerations The show features a mix of costumes, from overall-body costumes to actors holding puppets. Some children may need adults to quietly point out certain characters. The show has some emotionally-intense moments which include the death of characters on stage. There are several occasions where the characters come into the audience and close to those on aisle seats. Act One Scene Description Sensory 1.1 Prologue Large characters walk down the main aisle (Pride Rock) to enter the stage Circle of Life The singing at the beginning is quite loud Slight Boom at the end of Scene 1 Some characters are almost yelling in this scene 1.2 Scar and Mufasa (Scar’s Cave) Pridelands 1.3 Rafiki’s Tree (Rafiki’s Tree) Rafiki Paints Simba 1.4 Day with Dad (The Pridelands) Grasslands 1.5 Scar Tricks Simba (Scar’s Cave) 1.6 Simba Invites Some scary moments when Lionesses hunt catch a Nala Gazelle (The Pridelands) Loud sounds & loud drumming Lioness Hunt 1.6A Can’t Wait to Be Medium loud, gets pretty loud at end King Lots of Visual Stimulation with animals lights and (The Pridelands) curtains I Just Can’t Wait to Be King 1.7 The Elephant Loud air vents from the ground can be surprising Graveyard Light flashes (The Eleph. Loud rock music Graveyard) Chow “Chow Down” song can be scary Down 1.8 Under the Stars (Pridelands) They Live in You Act One Scene Description Sensory 1.9 Be Prepared Light flashes (The Eleph. Loud rock music Graveyard) “Chow Down” song can be scary Be Prepared 1.9A Zazu Apologizes 1.10 The Stampede Deep Base rumbling at beginning (The Pridelands) The masks can be scary to some The Stampede Very emotional scene with death 1.11 Eulogy (The Gorge / Funeral Lionesses crying is quite intense Bier / Pride Rock) Eulogy Be Prepared 1.12 Rafiki Mourns (Rafiki’s Tree) Rafiki Mourns) 1.13 Hakuna Matata (The Desert/Jungle ) Hakuna Matata INTERMISSION Act Two Scene Description Sensory E One by One Cast members in audience (Theater/Pridelands), wooping bird puppets in audience One by One 2.1 The Madness of King Scar (Scar’s Cave) The Madness of Scar 2.2 Nala’s Farewell (The Pridelands) Volume gets loud in some parts Shadowland 2.3 Simba’s Music gets intense when crocodiles get on stage Nightmare Scene can be scary as a character is in danger (The Jungle) Weem-A-Wep 2.4 Endless Night (The Jungle/Under Stars) Endless Night 2.5 He’s Alive! (Rafiki’s Tree) Rafiki is loud Endless Night Act Two Scene Description Sensory 2.6 Simba and Nala Intense Drumming during the chase Reunite (The Jungle) Can You Feel the Love Tonight 2.6A Mufasa’s Ghost Drums are loud (The Jungle), Volume gets louder when dancers arrive He Lives in You 2.6B Who’s the Monkey (The Jungle) 2.7 Simba Confronts Loud booming music at beginning Scar (Pride Rock) Lightning Finale – Part 1 Loud sounds throughout Intense music 2.7A Circle of Life Volume louder (Pride Rock) Slight Bass Boom at very end Circle of Life – Lots of clapping and cheering at end Reprise BOWS This is a list of possible sensory difficulties you or your child may experience while viewing this performance. Part of the magic of live theater is that unexpected things happen, so not every moment can be accounted for. This review team included an Autistic Teen, a Psychologist and an Autism Therapist WWW.SensoryAccess.org .

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The Lion King Audition Monologues
Audition Monologues Choose ONE of the monologues. This is a general call; the monologue you choose does not affect how you will be cast in the show. We are listening to the voice, character development, and delivery no matter what monologue you choose. SCAR Mufasa’s death was a terrible tragedy; but to lose Simba, who had barely begun to live... 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... in which lion and hyena come together, in a great and glorious future! MUFASA Look Simba. Everything the light touches is our kingdom. A king's time as ruler rises and falls like the sun. One day, Simba, the sun will set on my time here - and will rise with you as the new king. Everything exists in a delicate balance. As king, you need to understand that balance, and respect for all creatures-- Everything is connected in the great Circle of Life. YOUNG SIMBA Hey Uncle Scar, guess what! I'm going to be king of Pride Rock. My Dad just showed me the whole kingdom, and I'm going to rule it all. Heh heh. Hey, Uncle Scar? When I'm king, what will that make you? {beat} YOUNG NALA Simba, So, where is it? Better not be any place lame! The waterhole? What’s so great about the waterhole? Ohhhhh….. Uh, Mom, can I go with Simba? Pleeeez? Yay!!! So, where’re we really goin’? An elephant graveyard? Wow! So how’re we gonna ditch the dodo? ZAZU (to Simba) You can’t fire me.
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Character Breakdown BANZAI a Slick Yet Childish Hyena Who Works For
Character Breakdown BANZAI A slick yet childish hyena who works for Scar. He would be the leader of the group if hyenas weren't so lazy. Look for an outgoing and confident actor who can portray nastiness and gruffness. As Banzai is always featured with Shenzi and Ed, consider auditioning the hyenas in trios. Male or Female, Any Age ED The third member of Scar's trio of lackeys. He has a loud, cackling laugh that is his only form of communication. Ed should be played by an actor who can laugh unabashedly and communicate through physicality and facial expressions rather than words. This role can be played by a boy or girl. Male or Female, Any Age ENSEMBLE 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. There are also several moments to showcase individual dancers in "The Lioness Hunt" and "I Just Can't Wait to Be King." HYENAS Scar's army, helping carry out his evil plot to take over the Pridelands. Hyenas are mangy, mindless creatures who sing in "Be Prepared." Male or Female, Any Age LIONESSES The fierce hunters of the Pridelands and featured in "The Lioness Hunt," "The Mourning," and "Shadowland." Female, Any Age MUFASA The strong, honorable, and wise lion who leads the Pridelands. Mufasa should command respect onstage and also show tenderness with his son, Simba. Male, Any Age NALA 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.
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Lion King Playbill
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Redalyc.DISNEY's “WAR EFFORTS”: the LION KING and EDUCATION
Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies E-ISSN: 2175-8026 [email protected] Universidade Federal de Santa Catarina Brasil Modenessi, Alfredo Michel DISNEY’S “WAR EFFORTS”: THE LION KING AND EDUCATION FOR DEATH, OR SHAKESPEARE MADE EASY FOR YOUR APOCALYPTIC CONVENIENCE Ilha do Desterro: A Journal of English Language, Literatures in English and Cultural Studies, núm. 49, julio-diciembre, 2005, pp. 397-415 Universidade Federal de Santa Catarina Florianópolis, Brasil Available in: http://www.redalyc.org/articulo.oa?id=478348687019 How to cite Complete issue Scientific Information System More information about this article Network of Scientific Journals from Latin America, the Caribbean, Spain and Portugal Journal's homepage in redalyc.org Non-profit academic project, developed under the open access initiative Disney's "War efforts": The Lion King and... 397 DISNEY’S “WAR EFFORTS”: THE LION KING AND EDUCATION FOR DEATH, OR SHAKESPEARE MADE EASY FOR YOUR APOCALYPTIC CONVENIENCE Alfredo Michel Modenessi Universidad Nacional Autónoma de México [...]circumstances are incalculable in the manner in which they come about, even if apocalyptically or politically foreseen, and the identity of the vital individuals and objects is hidden by their humble or frivolous role in an habitual set of circumstances. Nadine Gordimer, July’s People I. “Who is here so rude that would not be a Roman?” “‘Peace, ho! Brutus speaks.’ And speaks. And speaks. And except for a couple of fatal blows that he somewhat misplaces in the bodies of his “best lover[s]” (i.e. Caesar and himself), he hardly does anything but deliver speeches.
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How "The Lion King" Remake Is Different from the Animated Version by USA Today, Adapted by Newsela Staff on 07.29.19 Word Count 854 Level MAX
How "The Lion King" remake is different from the animated version By USA Today, adapted by Newsela staff on 07.29.19 Word Count 854 Level MAX Image 1. Mufasa (left) and Simba in a scene from Disney's animated "The Lion King" which was released in 1994. Photo by: Disney Studios How does Disney tell the story of a lion becoming king in 2019? Well, largely the same way it did in 1994. This time the movie studio is using photorealistic computer-generated imagery (CGI). Jon Favreau's remake of "The Lion King" (in theaters since July 19) brings Simba, Nala, Scar and the whole pride back to the big screen with new voice talent but much of the original plot intact. Fans of the animated classic get those moments they love: Simba's sneeze, the cub's presentation to the kingdom, Timon and Pumbaa's vulture-kicking entrance. Even much of the dialogue is identical to that of the 25-year-old movie. But there are some changes that add a half-hour of running time to the story. Here are a few notable updates, aside from the obvious fact that the animals no longer look like cartoons. Be prepared for a different version of Scar's sinister song, and for new Beyoncé music. This time, Scar (Chiwetel Ejiofor) doesn't so much croon "Be Prepared" as deliver his signature song like a dark, militaristic monologue. In place of a catchy chorus and humorous digs at hyenas This article is available at 5 reading levels at https://newsela.com.
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NCTC- Lkaudition Packet Copy
AUDITIONS MARCH 22 & 23, by appointment FREQUENTLY ASKED QUESTIONS HOW OLD DO I HAVE TO BE TO AUDITION? To audition for the full cast, you must be eight years old by the closing performance. If you have participated in ﬁve (5) or more IN PERFORMANCE classes, you may be eligible to audition for the full cast. YOUNGER THAN 8? Children ages 5-8, check out our IN PERFORMANCE: DISNEY’S THE LION KING EXPERIENCE JR class beginning in May. While you may not having speaking lines, you will still have an opportunity to be in the production. WHEN ARE THE AUDITIONS? Auditions are March 22 & 23, by appointment. DO I HAVE TO MAKE AN APPOINTMENT TO AUDITION? Yes. Either schedule your audition online at www.NCTCArts.org. Appointments will last between 5-10 minutes. Appointments begin at 4:30pm on both days. WHERE WILL THE AUDITIONS, REHEARSALS AND PERFORMANCES TAKE PLACE? NCTC Performing Arts Theatre located at 743 North Mountain Road in Newington. IʼVE NEVER DONE THIS BEFORE, CAN I STILL AUDITION? Yes! In each of our productions, we have both children who have had stage experience and children who have not. DO MY PARENTS/FRIENDS WATCH MY AUDITION? No. We ask that all family and friends wait in the lobby during your audition. You will audition for the director and stage manager. WHAT DO I NEED TO PREPARE FOR MY AUDITION? Please make sure to ﬁll out the audition form completely, attach a recent picture of yourself (size of picture doesnʼt matter-as long as we can see your face) and bring with you to your audition appointment.
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Real Life Locations That Inspired the Lion King Rekero
The real landscapes that inspired the Lion King – and 10 amazing ways to see them 2019/08/04, 18*46 Telegraph Travel’s safari expert Brian Jackman on the Kenyan plains which inspired Disney’s writers, his own fascinating lion encounters, and ten of the best lodges in Africa to have yours Why should lions have held the world in thrall since the dawn of history? As long ago as the seventh century BC, the Assyrian king Ashurbanipal had his royal palace at Nineveh decorated with magniﬁcent bas-reliefs of lion-hunting scenes. In Ancient Rome, the walls of the Colosseum resonated to the roars of lions as gladiators fought to the death with the king of beasts. Closer to our own time, Sir Edwin Landseer’s four bronze lions were set to guard the statue of Nelson, the nation’s hero in Trafalgar Square, and even in my lifetime I have watched spear-carrying Maasai warriors loping over the savannah to prove their manhood on a ceremonial lion hunt. Celebrated in literature by the likes of Ernest Hemingway and Karen Blixen, lions have maintained their enduring hold on the national psyche, appearing on the shirts of the England football team and even entering our living rooms thanks to the popularity of TV wildlife documentaries such as The Big Cat Diary and Sir David Attenborough’s Dynasties series. But not since Born Free, Joy Adamson’s true-life saga of Elsa – the lioness she raised and returned to the wild – has anything gripped the public imagination like The Lion King.
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The Lion King Monologues
THE LONE KING MONOLOGUES LAST WEEK – VOCAL SKILLS • Pace • Pitch • Power • Pause • Pronunciation THIS WEEK Monologues – VOCAL SKILLS • Space • Levels • Facial Expression • Body Language Zazu – The Lion King Oh, just look at you two. Little seeds of romance blossoming in the savannah. Your parents will be thrilled… what with your being betrothed and all. {trying to explain} Betrothed. Intended. Affianced. One day you two are going to be married! {beat} Well, sorry to bust your bubble, but you two turtle doves have no choice. It’s a tradition… going back generations. {beat} Oh, you can’t fire me. Only a king can do that. You’re not a king yet. And with an attitude like that, I'm afraid you’re shaping up to be a pretty pathetic king indeed. If this is where the monarchy is headed count me out! Out of service, out of Africa, I wouldn't hang about! Young Simba – The Lion King Hey Uncle Scar, guess what! I'm going to be king of Pride Rock. My Dad just showed me the whole kingdom, and I'm going to rule it all. Heh heh. I’m gonna be a mighty king so enemies beware. I’m working on my roar. Here, listen! Roar!! I can’t wait to be king! No one bossing me around… Free to play all day... Free to do it all my way! Hey, Uncle Scar? When I'm king, what will that make you? Mufasa – The Lion King Look Simba. Everything the light touches is our kingdom. A king's time as ruler rises and falls like the sun.
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JULY 13Th & 14Th, 2018
JULY 13th & 14th, 2018 ENMU-R Performing Arts Center Picture taking, video or audio recording of any part of the performance is strictly prohibited. THE LION KING JR is presented through special arrangement with MUSIC THEATRE INTERNATIONAL (MTI). All authorized performance materials are also supplied by MTI. www.MTIShows.com Music and Lyrics by ELTON JOHN and TIM RICE Additional Music and Lyrics by LEBO M, MARK MANCINA, JAY RIFKIN, and HANS ZIMMER Book by ROGER ALLERS and IRENE MECCHI Based on the Broadway production directed by JULIE TAYMOR Music Adapted & Arranged and Additional Music & Lyrics and “Luau Hawaiian Treat” written by WILL VAN DYKE “It’s a small world” written by RICHARD M. SHERMAN and ROBERT B. SHERMAN Directed by SUMMER SOUZA and SPENSER WILLDEN Music direction by CYDNI VANDIVER and BETHANY MUHR Choreography by SUMMER SOUZA Set design by TONY SOUZA Lighting design by SUMMER SOUZA, TONY SOUZA, and JOHN BITNER (asst.) Costume design by NANCY HEIN Props and Puppet design by SPENSER WILLDEN, KENDRICK DAVIS (asst.), JONAH GRAFF (asst.), and NICHOLAS FEATHERSTONE (asst.) Pumbaa and Zazu Puppets made available by ENMU-R Prop Artwork by MICHELE MASSEY and JAYDEN HELMSTETLER Hair and makeup design by SUMMER SOUZA, TONY SOUZA, CASEY BEDFORD, REBEKAH BITNER, KENDRICK DAVIS, MICHAEL SWEENEY and JAYDEN HELMSTETLER Youth Production Assistants: DEVON BULLOCK, CASEY BEDFORD, ZOE BEDFORD, BETHANY MUHR, KENDRICK DAVIS, JONAH GRAFF, JULIANNE MARTINEZ, JAYDEN HELMSTETLER, ROSE THORSTEAD, JESSICA LASTELLA, MIA HUDDLESTON, KYLEE CLEMENTS, and NANCY HEIN Way Way Off-Broadway Artistic Director – SUMMER SOUZA THE LION KING JR is presented through special arrangement with MUSIC THEATRE INTERNATIONAL (MTI).
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July 31-August 2 in Consideration of Other Patrons
Music and Lyrics by Elton John & Tim Rice Additional Music and Lyrics by Lebo M, Mark Mancina, Jay Rifkin, and Hans Zimmer Book by Roger Allers & Irene Mecchi Based on the Broadway production directed by Julie Taymor Music Adapted & Arranged and Additional Music & Lyrics and “Luau Hawaiian Treat” written by Will Van Dyke “It’s a Small World” written by Richard M. Sherman and Robert B. Sherman Director Meredith Vandre Assistant Director Nora Wickman July 31-August 2 In Consideration of Other Patrons... • Please turn off or silence all cell phones. • Please do not text during the production. • Thank you for your patronage and polite considera- tion. • Maintain 6’ of social distance at all times • Face coverings over the nose and mouth should be worn at all times when not seated • Concessions will not be available • Bring your own lawn chair and/or blanket And enjoy the show! Cast Cast…………………………………………………………………………………………………………….Role Kaelin Baird……………………………………………………………………………………………………………..Scar Emerson Carter…………………………………………………………………………………………….Young Nala Riley Carter….……………………………………………………………………………………………………..Lioness Angela D’Andrea………………………………………………………………………………………………..Mufasa Madison Herlehy…………………………………………………………………………………………………….Nala Elise Hocevar…………………………………………….……………………………………………………………….Ed Luke Hogan…………………………………………………………………………………………………………..Simba Tyler Hogan…………………………………………………………………………………………………………….Zazu Zoe Hogan……………………………….…………………………………………………………………………….Rafiki Jeannie Hughes………………………………………………………………………..………………Young Simba Ava Ludwig………………………………………………………………………..………………………………Sarafina
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Deconstructing Walt Disney's the Lion King
Deconstructing Walt Disney’s The Lion King By Vicky Wong Spring 1999 Issue of KINEMA DECONSTRUCTING THE WALT DISNEY ANIMATION THE LION KING: ITS IDEOL- OGY AND THE PERSPECTIVE OF HONG KONG CHINESE Walt Disney’s animations have always been popular, largely of course due to their aesthetic appeal, vivid characters, interesting plots, and for the parents, obvious moral standards that save their time teaching their children. The artifact this paper is going to study is one of Disney’s most popular animation The Lion King released in 1994 both in the US and in Hong Kong. The film broke all records in the first weekend, grossing USD42 million. It was similarly popular when it was released in Hong Kong during the summer vacation in the same year. Simply put, the story is about how a regal lion is victimised by his uncle: experiences an exile and a life free from responsibility: free by whim or by chance, when he grows up, meets up with his friend and goes through a period of identity crisis and introspection: and finally, the lion gains back his throne by challenging the illegitimate king, his uncle. Though in the form of an animation which one would naturally think is dedicated to children, and which is generally thought of as being surrealistic, which at most contain moral lessons. The Lion King, in analysis, is more than a fable. I will argue that The Lion King should ”rightfully” (a term often appears in the script as we will discuss later) be an adult’s film. Hinson (1994) said, ”Of the 32 animated films Disneyhas produced, this story of a young African lion’s search for identity is not only more mature in its themes, it is also the darkest and the most intense.
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The Disney Nonhuman Princesses
ESSAY: NONHUMAN PRINCESSES The Nonhuman Disney Princesses By Corey Wrenn Feminists have been critical of animated Disney films for promulgating outdated gender roles. Women in these films are represented as subservient, dainty, heterosexualized, and fixated on romance and the “happily ever after” with their dashing prince. The stories of Sleeping Beauty and Snow White echo rape culture (both are victims to their prince’s sexual advances while unconscious and unable to consent), while Beauty and the Beast romanticizes domestic violence and Stockholm Syndrome. The Little Mermaid encourages little girls to trade their voices for men’s affection. In most of these “princess movies,” the stories end with marriage. Heterosexual matrimony is portrayed as the culmination of life goals for women. These princesses are frequently the objects of rescue and a trophy for men to win; they are rarely the determiners of their own lives. Many of the gender norms popular in human-centric Disney films are also perpetuated in those starring nonhuman princesses. These nonhuman princess films perpetuate Disney’s painfully heteronormative and white bias, although perhaps less obviously. They remain side characters to inspire male counterparts, to be rescued, and to be won—and again, marriage is presented as the epitome of a happy ending. Although these characters are deer, foxes, cats, lions, and frogs, they are also overwhelmingly coded as white. Whiteness structures characters’ speech, behaviors, and values. In fact, most of the voice actors are also white. For instance, The Lion King’s Nala is an African character, but a white woman of Irish descent voices adult Nala.
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