The Lion King Characters

The Lion King has a range of intriguing principal characters. Here, we trace some of their journeys, including how they’ve evolved from screen to stage…

Simba

Initially, Simba has all the fresh-faced enthusiasm you’d expect of a young Lion who is destined to be king of his pride. But his father Mufasa, who he idolises, imbues him with a sense of the responsibility of the role. Often compared to Hamlet, Simba soon comes to witness the dangers his father warns him about, not least through the treachery of his uncle Scar.

In the stage version, the adult Simba sings a new song, ‘Endless Night’, in which he tries to come to terms with the death of his father. It includes the stirring refrain, “I know that the night must end / And that the sun will rise”, which summarises Simba’s psychological plunge into darkness, and also his mission to restore light to the Pride Lands. In this he is aided by his childhood friend, Nala, who, together with Rafiki, helps him to see that his father’s spirit is alive in him.

Simba

Initially, Simba has all the fresh-faced enthusiasm you’d expect of a young Lion who is destined to be king of his pride. But his father Mufasa, who he idolises, imbues him with a sense of the responsibility of the role. Often compared to Hamlet, Simba soon comes to witness the dangers his father warns him about, not least through the treachery of his uncle Scar.

In the stage version, the adult Simba sings a new song, ‘Endless Night’, in which he tries to come to terms with the death of his father. It includes the stirring refrain, “I know that the night must end / And that the sun will rise”, which summarises Simba’s psychological plunge into darkness, and also his mission to restore light to the Pride Lands. In this he is aided by his childhood friend, Nala, who, together with Rafiki, helps him to see that his father’s spirit is alive in him.

Mufasa

The definition of a leader, Mufasa – whose name means ‘king’ in the Manazoto language – is a strong patriarchal figure. He has many good qualities, including bravery, loyalty, strength, and his love of family. As such he is respected and revered by the vast majority of animals. But his willingness to see the best in others – notably his brother Scar – proves his downfall.

Mufasa is a significant presence throughout the film the stage show, where his role is expanded (including in the songs ‘The Morning Report’ and ‘They Live in You’). In Act II he plays a crucial role in Simba’s journey to ultimately avenge his death. His dramatic appearance as a vision, during the reprise of ‘He Lives in You’, eventually inspires his son to return and take his place in the Circle of Life.

Mufasa

The definition of a leader, Mufasa – whose name means ‘king’ in the Manazoto language – is a strong patriarchal figure. He has many good qualities, including bravery, loyalty, strength, and his love of family. As such he is respected and revered by the vast majority of animals. But his willingness to see the best in others – notably his brother Scar – proves his downfall.

Mufasa is a significant presence throughout the film the stage show, where his role is expanded (including in the songs ‘The Morning Report’ and ‘They Live in You’). In Act II he plays a crucial role in Simba’s journey to ultimately avenge his death. His dramatic appearance as a vision, during the reprise of ‘He Lives in You’, eventually inspires his son to return and take his place in the Circle of Life.

Rafiki

A baboon with shamanic abilities, Rafiki is the spiritual guide of the story and is involved in several key moments, including the blessing of Simba on Pride Rock. The stage version opens with one of the great moments in musical theatre, as Rafiki calls 'Nants ingonyama bagithi baba' (‘here comes a lion’) and the animals respond from all corners of the auditorium.

The character is based on the Sangoma, an important figure in South African culture who acts as a healer, storyteller and a conduit of traditions. In dramatic terms, her role also encompasses that of a narrator, who aids the characters – particularly Simba – in fulfilling their destiny. Director Julie Taymor made Rafiki a female character on stage, and expanded her role. She has an additional number (‘Rafiki Mourns’), sung in Zulu, and is more actively involved in the climactic battle.

Rafiki

A baboon with shamanic abilities, Rafiki is the spiritual guide of the story and is involved in several key moments, including the blessing of Simba on Pride Rock. The stage version opens with one of the great moments in musical theatre, as Rafiki calls 'Nants ingonyama bagithi baba' (‘here comes a lion’) and the animals respond from all corners of the auditorium.

The character is based on the Sangoma, an important figure in South African culture who acts as a healer, storyteller and a conduit of traditions. In dramatic terms, her role also encompasses that of a narrator, who aids the characters – particularly Simba – in fulfilling their destiny. Director Julie Taymor made Rafiki a female character on stage, and expanded her role. She has an additional number (‘Rafiki Mourns’), sung in Zulu, and is more actively involved in the climactic battle.

Nala

Nala is an enthusiastic, strong and lively lion cub at the beginning of the story, who more than holds her own with her royal friend Simba. But, like him, she soon discovered the cruelties of the world and must learn to fight for everything she previously took for granted.

The lionesses are a crucial component of the survival of the Pride. On stage we get to witness their grace during the hunt, and see how effectively they operate as a unit. Nala’s decision to leave the Pride Lands in order to seek help – which leads her to reunite with Simba – receives the blessing of the lionesses (‘Shadowland’), and ultimately saves the Pride from famine.

Nala

Nala is an enthusiastic, strong and lively lion cub at the beginning of the story, who more than holds her own with her royal friend Simba. But, like him, she soon discovered the cruelties of the world and must learn to fight for everything she previously took for granted.

The lionesses are a crucial component of the survival of the Pride. On stage we get to witness their grace during the hunt, and see how effectively they operate as a unit. Nala’s decision to leave the Pride Lands in order to seek help – which leads her to reunite with Simba – receives the blessing of the lionesses (‘Shadowland’), and ultimately saves the Pride from famine.

Scar

Mufasa’s brother, who claims to have got the 'lion’s share' of brains rather than brawn, Scar is The Lion King’s scheming antagonist. There is an interesting psychological undercurrent to his resentment of Mufasa, with an implication he gave him the scar during childhood. His jealousy of his brother is all-consuming, and leads him to commit fratricide by luring him into a stampede.

The guilt that follows this act is given extra weight on stage with the song ‘The Madness of King Scar’, in which he doubts his own reign. He is also haunted by the ghost of Mufasa, who he realises he will never emulate. Although he is clearly a villain, there is also a comic side to Scar, particularly in his interactions with Zazu and the Hyenas. But in the end he must reap the consequences of the misery he has inflicted on others in the name of his own ambition.

Scar

Mufasa’s brother, who claims to have got the 'lion’s share' of brains rather than brawn, Scar is The Lion King’s scheming antagonist. There is an interesting psychological undercurrent to his resentment of Mufasa, with an implication he gave him the scar during childhood. His jealousy of his brother is all-consuming, and leads him to commit fratricide by luring him into a stampede.

The guilt that follows this act is given extra weight on stage with the song ‘The Madness of King Scar’, in which he doubts his own reign. He is also haunted by the ghost of Mufasa, who he realises he will never emulate. Although he is clearly a villain, there is also a comic side to Scar, particularly in his interactions with Zazu and the Hyenas. But in the end he must reap the consequences of the misery he has inflicted on others in the name of his own ambition.