“The Lion King” in Hamburg: How the musical has changed

Nobody has played the hyperactive hornbill Zazu for as long as Joachim Benoit. He has played the character in Disney's “The Lion King” since the musical's German premiere in Hamburg in December 2001. Now Benoit has a special anniversary to celebrate, having performed 8,500 times.

In the interview, the actor explains the secret of the success of the show directed by Julie Taymor, which features music by Elton John and Tim Rice as well as Lebo M and Hans Zimmer. Benoit also reveals how the musical has changed over the last 20 years.

Congratulations on your show anniversary, Mr. Benoit: You have already played Zazu in “The Lion King” 8,500 times. Are you celebrating this milestone?

Joachim Benoit: Not directly. But we always have party events for everyone, for example on the show's anniversaries. I would never have thought 20 years ago that I would be doing so many shows. So I'm not celebrating the 8,500th show, I'm celebrating every show.

Can you remember what was going through your mind before your first performance as Zazu?

Benoit: That was a very special moment: This big show came to New York and London as the third production and to Germany for the first time in a translation. It caused a huge hype. I auditioned six times and when I finally got the role, it was a great feeling. But I also felt excitement and respect. I saw the show a year after it opened on Broadway and later in London when I went there for costume fittings after I had signed my contract. That was the first time I realised how much I had to learn. Like all of us, I wasn't a puppeteer and I had a lot of respect for it.

Did you get stage fright at the premiere?

Benoit: No, I don't get stage fright. I always find my way and can improvise well. Shows like this are also rehearsed over a long period of time – eight weeks back then. At the end I knew that I could trust myself and always knew when I should be where. That way I don't get stage fright and can enjoy the performances. Then as now, I'm positively excited and excited before the shows, but not nervous.

What unforgettable moment as Zazu do you particularly like to look back on?

Benoit: That was actually the premiere when we played in front of such a large audience for the first time. Representatives from Walt Disney, the director of “The Lion King” Julie Taymor, many stars and the television were there. I had experienced premieres before, but this was on a gigantic scale. We had another big party on our tenth anniversary. People knew that I had been there from the beginning and applauded me. That was a special appreciation.

Since 2001, you have always played to sold-out audiences; millions of people travel to Hamburg to see the musical, which has won over 70 awards worldwide. What is the secret of the success of “The Lion King”?

Benoit: On the one hand, it's because of the well-known, touching story that has been made into a film by Disney several times and that every child knows. Then there's the African element, the music, instruments like marimbas, and the rhythms that are different from those in typical musicals. This sound, the story and of course the visuals of this show, which overwhelms the audience with imagery in epic, theatrical form, puppetry and shadow play, are what make it so successful. The musical is also very handmade. Everything works with paper, puppets and fabrics. The audience can see the mechanisms with their own eyes, for example how we operate the puppets.

What fascinates you most about the story?

Benoit: The story is always touching. It is universal and is about what each of us goes through: growing up, finding our way. The story is also always current and covers many issues that concern us today, such as climate change or people who trust each other for government positions and how Scar, the evil uncle, does not want to maintain balance and respect in dealing with each other and nature. Racism, flight, expulsion, all of this is reflected in the story in the fate of Simba and Nala, who are expelled by a despot. They fly, they have to come back and fight for democracy again. If you look at the show like that, it is absolutely current and neither romantic nor old-fashioned. It is a true story.

How has the show changed over the last 20 years in Hamburg?

Benoit: Every role has its own special moments. Especially Zazu, who is very comedic and sometimes breaks away from the plot a little. There is the “signature scene” in which I apologize to my employer, King Mufasa, for letting the children slip away from me. We regularly take these in hand, together with Walt Disney, and change them. Or a new Mufasa actor comes in who puts a different spin on the scene and I react to them. Another of these scenes is in the second act, in which Zazu is trapped and tormented by the evil Scar. Here, too, we keep coming back and using new songs. It is not set in stone either, and the same applies to many other scenes in the show and to other characters. Of course, the big picture and the story stay the same, but we always revive these “signature moments” every year.

How much of Zazu’s character do you contribute yourself?

Benoit: I'm an exception in that respect, there's a lot of me in the role. That's because I was the first actor to take on the role in a non-English version and was able to shape it. Some things, especially comedy, don't work in direct translation. The team recognized that I have a knack for improvisation and comedy, and I was able to bring my own ideas to the table. I shaped the German version of Zazu significantly with my personality, my craft, character and talent. That was a wonderful gift.

How much dexterity and physical fitness are needed to handle the doll?

Benoit: The person has to be very fit and fast. This is a character who goes wild, who chatters and runs quickly. Zazu is the smallest puppet in the show according to those responsible, but she is the most complex puppet, with the largest repertoire of expressions. She is like a living bird, even her eyes are animated and can open wide, just like her beak. You have to be very skilful and know exactly how the images are reflected in the audience. And I also have to be very fit because I get kicked about ten times in the show, fall, have to roll over and get up again without using my hands – because I'm operating the puppet at the same time. I'm very fit and do a lot of sport, but without pressure, I always need exercise.

You get a lot of applause and standing ovations every day. Do people recognize you on the street in Hamburg?

Benoit: Rarely. I don't usually use the audience boat shuttle to get there. And I wear so much makeup on the show that no one recognizes me on the street.

Do you read online reviews of the show and interact with fans?

Benoit: I never look at online reviews. But I recently started an Instagram account. For the first time in my life, I'm getting a little bit of contact with fans, which is also nice and motivating. I'm still learning how it all works technically, but I'm getting better.

Would you describe your role as Zazu in The Lion King as your dream job?

Benoit: Yes, definitely. I love the show and I really, really enjoy doing it. I also love and need the social structure around it. There are so many people, not just the actors, but also behind the scenes, who have been there for a long time. I also have the challenge of taking on another role with Timon from time to time. Then I have to adjust completely differently and am a bit more excited or nervous. Overall, as an actor, it is important to me to be in a good production where everything is right. In “The Lion King” I have a great structure, a successful production, everything in the production is on point. However, it was not planned at the beginning that I would stay for so long. It is an absolute exception. I am the longest Zazu in the world.

What other musical would you like to play a role in?

Benoit: I often watch musicals in America or Great Britain that would not or could not be performed in Germany because the culture and access are not there. These are shows by Stephen Sondheim, Bob Fosse, strong American material. I would love to be in “Sweeney Todd” or “Into the Woods”. That is how I was brought up, sometimes I get nostalgic for them. Recently I saw Daniel Radcliffe in “Merrily We Roll Along” on Broadway. That was also sensational. It is a different kind of theater story that we are not familiar with here. Here it has to be more compatible with the masses so that it can be performed on a large scale.

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