REVIEW: ASC’s Immersive Tarzan Musical Surrounds You In The Jungle (FLORIDA THEATER ON STAGE)

By Aaron Krause July 25, 2025

Coby Oram in Area Stage Company’s immersive Tarzan (Photos by Chase Wells)

Area Stage Company’s (ASC) current professional production is not your childhood Tarzan. Yet it is still the story and music you know and love — only now, the titular character might literally swing past you, mid-scene.

This gripping immersive staging doesn’t ask for audience participation; however, it surrounds you with the world of the show. The result is a visceral experience that reimagines the jungle not just as a set, but as a space you physically inhabit.

The production takes place inside a faux safari tent built within ASC’s black box space on the second floor of South Miami’s Shops at Sunset Place. It runs through Aug. 10.

Scenic designer Raquel Dwight reinforces the immersive environment with appropriate detail. The tent is textured and spacious, accommodating the production’s high-energy movement and aerial feats.

Lighting designer Joe Naftal bathes the space in rich colors like green and red, enhancing mood and signaling shifts in tone. Lighting intensity changes with the action: romantic scenes glow with softness, while tense moments are cast in starker hues. Just as the actors are constantly in motion, so too is the light, heightening the show’s kinetic energy.

Costume designer Paulina Lorenzo avoids cartoonish literalism. Instead of full animal suits, the gorilla characters wear mostly black outfits that gesture toward their species without constraining the actors’ movement. This minimalist but expressive design supports the production’s physical storytelling while allowing the performers’ emotions to come through.

The sound design by Abraham Oleksnianski is clear and crisp – we can hear nearly every spoken and sung word.

ASC’s visionary artistic director, Giancarlo Rodaz, has crafted a highly physical staging with rapid movement and inventive blocking that keeps the action energetic. Phil Collins’ propulsive pop score — carried over from the 1999 Disney musical film — reinforces the show’s energy with surprising effectiveness. Unlike in the movie, the actors effectively sing with robust accompaniment from a live band. Collins, a legendary British vocalist and composer and former child actor, has limited experience writing for musical theater. This is evident in Tarzan, where his lyrics often feel bland, non-descriptive, and repetitive.

For those unfamiliar with Tarzan, the stage musical — based on the 1999 animated film and a novel by Edgar Rice Burroughs — follows the titular character. He is a boy raised by gorillas in the African jungle after his parents die. As he grows, Tarzan struggles to find his place between the animal world that raised him and the human world he’s biologically a part of. When explorers arrive, including Jane, Tarzan experiences love and inner conflict. This leads to a dramatic confrontation that tests his identity and loyalty.

The story tackles timely themes such as identity and self-discovery, family and belonging, love, humanity vs. nature, as well as acceptance and respect.

Rodaz guides a young, talented cast of locals and out-of-town performers (including some NYC-based actors) with precision and flair. This Tarzan follows a string of past immersive, award-winning ASC hits from Rodaz, including Beauty and the Beast, The Little Mermaid, Annie and Oliver! — all of which transformed classic titles through environmental staging.

Like those earlier works, Tarzan doesn’t envelop every audience member at every moment — not every scene plays out inches away. But the design remains immersive in intention and execution. Audiences aren’t passive spectators; Rodaz places them inside a shifting jungle of sound, movement, and tension. You might be steps from a fight or a romantic moment — or feel the air shift as Tarzan swings overhead. Even when the action unfolds across the room, you’re still inside its world — watching it breathe and pulse around you. Rodaz varies the pacing so that more introspective, moving material truly lands and touches us.

For instance, early on, Kala — the titular character’s gorilla mother — lies on a hammock with her infant, rocking gently while singing the soothing, lullaby-like, award-winning song “You’ll Be in My Heart.” She holds the baby Tarzan close to her body as she sings to him. Kala (a tender, motherly Katie Duerr, who also serves as the production’s music director) finishes the song with an audible whisper of the word “Always.” The whisper reinforces Kala’s sincere devotion to her child.

A similarly quiet yet touching moment comes during the song “I Need to Know.” In it, young Tarzan (a sensitive Grace Suarez) despairs after Kala’s husband, Kerchak, disapproves of the boy’s actions. “I Need to Know” calls to mind “Where Is Love?” from Oliver! — in both numbers, children sing as they seek affection and clarity in a confusing world.

As young Tarzan sings:

Will someone tell me where I belong? Where I should go?
Can someone tell me where I’m going wrong? I need to know.
Why would I hurt the ones I love? Why would I hurt you?
If I can’t be what he wants of me, what am I to do?
When will I be me, the son that he can’t see?
There must be somebody who understands. Out there, somewhere.

Suarez delivers the number soulfully, with quiet yearning, in a voice that sounds like it belongs to a boy. A puppet stands in for Tarzan as a child — a choice that might seem simple, but proves effective. Puppetry is one of the ways Rodaz directs economically, relying on minimalism without sacrificing creativity or emotional impact.

In addition to being action-packed, creative and touching, this production is humorous. Watch and listen, for instance, as the actors portraying gorillas observe with wonder a typewriter they see before them. Suddenly, one of them touches the machine and rushes back in shock. During another moment, the titular character learns to speak English. As others slowly, in a loud, drawn-out manner, instruct him in proper pronunciation, you may understandably laugh. These scenes may even call to mind the familiar image of an American slowly — and loudly — trying to communicate with someone who doesn’t speak English.

Sometimes, the actors portraying Tarzan and Jane don’t speak; they simply observe each other in awe, reflecting on how they are different, yet alike in other ways. Thanks to Rodaz and the actors, these pauses featuring non-verbal communication are just as touching as scenes with spoken words.

The duality of man and beast is one of the key themes in Tarzan. Rodaz and the cast deftly illustrate this theme through movement. In particular, the performers sometimes walk on two feet, while at other times, they crawl on all fours. In addition, the actors portraying beasts sometimes speak English, and at other times communicate in beast-speak, which may sound like nonsense to many of us.

All of this reinforces the notion that we have baser, impulsive urges in addition to more human, rational tendencies. Certainly today, in 2025, we have experienced beast-like tendencies in many individuals, although kinder, human qualities still exist. Quality live theater can remind us that goodness persists in the world — even alongside baser instincts.

In Tarzan, an inner tug-of-war between human and beastly tendencies forces the titular character to question his true identity. As we watch this show, we can’t help but think that the real beast is not any of the gorillas, but the scientist/explorer Clayton. This may call to mind another Disney show — Beauty and the Beast. You may recall that many think the true beast in that show is Gaston.

In this production, the titular character (Coby Oram) and Jane (Siena Worland) pore over a book, which may instantly cause you to recall lively scenes involving books and literature between the titular beauty and the title beast.

Certainly, Jane is a British woman who is as vibrant and curious as Belle in Beauty and the Beast. In Worland, Rodaz has chosen a gem of a performer to play this key character. Worland, sporting red lipstick, a yellow outfit, and with blonde poking out from beneath her hat, looks as radiant as she sounds as Jane. The actor radiates enthusiasm, wonder, curiosity and similar such qualities that people with a zest for life share. And we sense that Jane feels for Tarzan as he must decide between the human world and the one in which he grew up. Also, it’s clear that she is as curious about Tarzan and the apes as they are about her.

The dynamic between Tarzan and Jane may call to mind shades of My Fair Lady. Jane plays a role akin to Professor Higgins — guiding Tarzan’s introduction to speech and civilized society. Yet unlike the pompous Higgins, Jane is curious and openhearted, and ultimately transformed as much as Tarzan is.

Worland shares strong chemistry not only with Oram’s Tarzan — whom she helps introduce to human society — but also with her onstage father, Professor Porter. John Luis Mazuelos imbues Jane’s father with enthusiasm and a touching sensitivity. Mazuelos gives Professor Porter a human quality, something that is lacking in the 1999 animated movie, which portrayed Jane’s father as basically a fool.

Characters such as Jane and her father, Professor Porter, are joyful, bright presences, whereas Kerchak and Clayton are darker. To his credit, Frank Montoto finds just the right shade of darkness to bring Kerchak and Clayton to life. As Kerchak, Kala’s husband, a commanding and severe Montoto makes it clear who is in charge. And his mistrust of Tarzan comes across loud and clear. As the explorer, Montoto conveys believable arrogance and you sense greed in him. Like Gaston in Beauty and the Beast, Montoto’s Clayton is the true beast in Tarzan.

Speaking of the title character, Oram excels physically and vocally in the role. With long strands of dark hair and often wearing no top, this performer looks fit and moves with vigor. Whether he’s climbing a ladder or swinging from a rope, Oram’s fearless Tarzan is a sight to behold. The actor also believably conveys Tarzan’s sense of wonder, awkwardness and inner conflict. We sense he is truly torn between the human world and the universe in which Kala raised him among the apes.

Another major character is Terk, Tarzan’s loyal and lively best friend. Imran Hylton plays him with deft comedic timing and charisma.

While Terk still cracks wise and bursts into high-energy numbers such as “Trashin’ the Camp,” Hylton humanizes the character. This Terk isn’t just comic relief — he’s a genuine friend. Indeed, he is wrestling with the fear of being left behind as Tarzan drifts toward the human world. Hylton plays the tension with subtlety, revealing not just humor but heart. The result is a Terk who is as memorable for his loyalty as he is for his laughs.

In the final analysis, ASC, under Rodaz’s expert guidance, has crafted yet another believable immersive show filled with humor, heart, energy, and humanity. This production captures the spirit of Tarzan while making it fresh and immediate for today’s audiences. With its strong performances and inventive staging, it’s sure to resonate long after the curtain falls. Look for it to receive at least one well-deserved award nomination.

Tarzan from Area Stage Company through Aug. 10 at The Shops at Sunset Place, second floor, 5701 Sunset Drive in South Miami, performing 7 p.m.  Thursday–Sunday and 2 p.n. Saturday-Sunday. Tickets: $52.75–$124.75, depending on seating. For more info, visit www.areastage.org.

REVIEW: Area Stage Co Swings Into the Jungle with Tarzan, an Immersive Musical Adventure (WTLGOMAG)

Discover Tarzan in an immersive new musical production this Summer set to the iconic songs of Phil Collins.

By Jon Manarang July 25, 2025

Tarzan and Jane (Cred. Chase Wells)

Area Stage Co’s spin on classic Broadway musicals has put audiences right at the center of the action with their immersive renditions of Beauty and the Beast and The Little Mermaid garnering critical acclaim. The troupe returns with their spin on the musical version of Tarzan, the box office smash 1999 animated film. Its Broadway adaptation premiered in 2006 which would only run for under a year. Yet, with a popularity amongst theater educators and international productions that have radically transformed the show, Tarzan has remained in the hearts of theatergoers. Area Stage Co’s Tarzan runs now until August 10 with tickets available here.

From the second you enter the house, the audience is greeted by a team of explorers, offering you a map and ushering you to your seat. The ushers, who are also performers in the show may offer a remark about the journey you are undertaking in the show, specifically keeping loose items under your seat and much like a theme park attraction, keeping arms and legs within the radius of your chair as performers move in and out of the space. An announcement at the beginning, very clearly commands audience members not to film the performance, keeping everyone in the world of the show.

Tarzan Climbing (Cred. Chase Wells)

Offering two different experiences, ticket buyers can opt for “Jungle Seating” which puts the crowd on more straightforward, bench-style seats that have a clear view of the entire production, or the “Explorer’s Club” which are premium seats center-stage where the audience can get right in the center of the action. For those familiar with the film, the Explorer’s Club is a more thrilling experience with performers swinging around you, as the staging makes certain scenes and performances more of a strain to see.

While typical proscenium productions of Tarzan set the scene with swaths of large green car wash fringe to replicate the jungle, here Director Giancarlo Rodaz has collaborated with Scenic Designer Raquel Dwight to set the scene in a massive canvas tent, decked out with a litany of props and Easter Eggs that make themselves known throughout the show. As with many Area Stage Co productions, Rodaz’s directorial craft hides the best tricks in plain sight. Actors swing from ropes throughout the space, transformations occur from costume trunks throughout the room, as the show takes flight, the theater truly feels alive. Lighting designer Joe Naftal’s atmospheric lighting especially heightens the depth of the room with moody theatrical spectacle.

Kala and Kerchak (Cred. Chase Wells)

As the show opens, we meet a shipwrecked British couple (Coby Oram and Grace Suárez) who find themselves washed ashore on an African coast with their newborn infant. The leopard (Gabriella Alfonso) slays the pair, leaving their child orphaned. A tribe of gorillas stumbles upon the scene, with the patriarch Kerchack (Frank Montoto) and his mate Kala (Katie Duerr). While Kerchack is reluctant to assist humans in any way, Kala, racked with pity, chooses to raise the child as her own, naming the baby Tarzan.

Though Area Stage Co’s conservatory usually works on junior and teen productions during the school months, this musical rendition of Tarzan only features a cast of eight adult actors, with the infant and child versions of the characters are portrayed by puppets. The tribe of apes, visited by Professor Porter (John Luis Mazuelos) and his crew encounter humans for the first time in the African jungle. A signature aspect of Area Stage productions, the small cast has the troupe playing multiple roles, this time as both humans and animals.

Leading the show as the titular Tarzan, Coby Oram is steadfast with a furrowed brow as the ape man. Capturing the mannerisms of a human raised by apes is no simple task and the actor swings throughout the jungle while belting with aplomb. Though most of his spoken dialogue begins with grunts and broken English, Tarzan’s inner monologue is represented through song. Despite microphone issues, Oram’s vocal clarity still filled the room with physical and vocal acrobatics, nailing a tricky Bb4 with ease. His foil, the inquisitive scientist of flora and fauna, Jane Porter is played by Siena Worland whose accent work is clearly studied as a turn of the century British gentry, resplendent in layers of petticoats.

The ensemble, aside from Terk and Kala, all rotate characters. Montoto plays both of the show’s central antagonists, the ape patriarch Kerchak and the villainous Clayton. He performs both the roles with bravado but his solo of “No Other Way” is particularly imposing with Montoto’s resonant baritone. As Jane’s father Professor Porter and a gorilla, John Luis Mazuelos brings a strong dignity to a role that was originally created as a comic foil to Jane, in this production Professor Porter welcomes the audience as explorers to his camp and Mazuelos’ sharp improv and characterization sets up the immersion from the onset.

Bubble Dance, Trashing the Camp (Cred. Chase Wells)

Young Tarzan (Grace Suárez) and his best friend Terk (Imran Hylton) are bonded as outcasts. While Terk was originally posited as a wise-cracking sidekick voiced by Rosie O’Donnell, the Broadway version and subsequent stage productions have the character typically played by a male-presenting actor. Hylton as Terk provides a certain flamboyance that allows him to understand Tarzan being “othered” by the gorillas who do not see him as one of them. Songwriter Phil Collins’ provides a new Motown-esque song “Who Better Than Me?” for Terk, but what really amplifies the character’s subtextual queer reading is the updated book by Tony-winning playwright David Henry Hwang.

Though Hwang was approached by Disney to write for Tarzan after his work on Aida, he broke into Broadway with his work on M. Butterfly, the satirical spin on the Madame Butterfly trope. Hwang approaches the text by softening the film’s massive tone problems mixing slapstick and maudlin in the outright cartoonish antics of the film. By infusing his sensibilities of “otherism” from his lens as an Asian writer, he shapes the characters and the story with a three-dimensional depth.

Though the show is beholden to the plot points of the original film, Hwang took liberty in blurring the line between human and animal. Giancarlo Rodaz, alongside Costume Designers Paulina Lozano and Sofia Ortega makes the creatures– gorillas, leopards and birds all resplendent in Victorian-inspired garb, a massive departure from the shaggy bathmats that plague the typical renditions of the show. In this bold swing to costume the apes this way, Rodaz states:

“I wanted to portray the gorillas as Jane sees them—sophisticated, with a societal structure akin to humans. Elegant 19th-century attire felt more fitting. Lion King draws its costuming from Africa’s rich cultural roots, complementing its music, but the production design of Tarzan reflects an explorer’s perspective.”

Yes, we do see Tarzan clad in a loincloth and matted hair, Jane in her signature yellow dress and Clayton’s imposing explorer’s costume, but the jungle is depicted as a reflection of England under the reign of Queen Victoria.

Typewriter (Cred. Chase Wells)

Genesis frontman Phil Collins won his first Oscar for Tarzan, and here returns to pen nine new songs for the musical. The issue with the film, often marked as the end of the Disney Renaissance era, is the diegesis of music. While Collins loads the film with bombastic, cinematic tunes, it’s never really clear who is singing or from whose perspective the songs occur from. Bringing the show to the stage, the clarity of direction makes the music more intentional. Through song, Tarzan’s complex inner thoughts are heightened, a wordless sequence of the apes “Trashin the Camp” provides a camp entr’acte and the deeply memorable power ballad “You’ll Be in My Heart” gets transformed from Kala’s lullaby to Tarzan’s ode to his mother in a heartwrenching reprise. Music director Katie Duerr balances both the vocal ensemble with pitch perfect clarity and the live rock band led by Arn Xu amps the show up further with a stylistic flair pulling from African pop to modern rock.

Area Stage Co’s immersive adventure of Tarzan takes a massive swing and lands right into a thrilling new world. Loaded with an infectious, iconic score by Phil Collins and David Henry Hwang’s intricate writing, this show has strong bones. While production choices may have inhibited the show from garnering a massive audience on the scale of The Lion King, Rodaz takes a page from the book of directors like Julie Taymor to create a revealing commentary on the line that gets obfuscated as we find the humanity in animals and the animalistic in humans. Area Stage Co’s Tarzan runs now until August 10 with tickets available here.

Review: Area Stage's Immersive Production of DISNEY'S TARZAN (BROADWAYWORLD)

By David McKibbin July 24, 2025

In a divisive social climate, theater shows that we have more in common than our differences. “Disney’s Tarzan,” while a kids’ show, proves this universal sentiment, emphasizing that “nothing is more savage than human greed.”

Audiences from all walks of life can enjoy this story of family and identity up-close in an immersive production at Area Stage in South Miami. With a unique audience experience, innovative staging, and solid performances by a talented young cast, “Disney’s Tarzan” can please audiences from ages 4 to 104.

“Disney’s Tarzan” first opened on Broadway at the Richard Rodgers Theater on May 10, 2006, closing just one year later. Based on Edgar Rice Burrough’s novel and the 1999 animated film of the same name, this musical is written by David Hen with a score by Phil Collins—featuring the Oscar-winning song “You’ll Be In My Heart.”

But as the house lights dim, the cast immediately shifts from human to animal, using simple props and costume pieces to aid the illusion. Some of Rodaz’s innovative staging techniques include the use of double-event puppetry and dual-role casting for symbolic effect.

This overall production takes campiness and theatricality to delightful extremes. Musical numbers like “Trashin’ The Camp” amplify the kitsch with bubbles and confetti flooding the space. By staging Tarzan like a Shakespearean troupe with minimal sets and symbolic props, Rodaz can encourage audiences to find the humanity in primal beings.

This minimalist approach to storytelling is a far cry from “Tarzan’s” original Broadway production directed by Bob Crowley. This version relied heavily on hyperrealistic spectacle with flying scenic elements, and a cast of 25.

Raquel Dwight’s scenic design enhances Rodaz’s staging—covering Area Stage’s black box theater with canvas and dark wood from wall to wall. The space is accentuated with zebra and leopard hides, crates, and old-fashioned trunks that store costume pieces. The centerpiece of this set is a ladder tower sturdy enough for humans and gorillas to climb. Ropes hanging above allow Tarzan to swing directly into the audience, enhancing this production’s immersive nature.

The animal characters appear human, thanks in no small part to Sofia Ortega’s costume design. All of the ape characters are clad in black coats with lace ascots and bowler hats. Meanwhile, most of the human characters wear white, khaki, and pastel colors. This distinguished color scheme allows audiences to see the clear divide between Tarzan’s gorilla family and the human world from whence he came. This concept seems to reinforce the differences—and similarities between the human world and the animal kingdom. Even with her conceptual choices, Ortega’s designs for Tarzan and Jane remain almost identical to the Disney property—particularly Jane’s bright yellow travel dress with a bustle and corset.

Lighting designer Joe Naftal develops a color palette that establishes location easily, enhancing Dwight’s minimalist scenic design. Shades of green represent the thick, luscious jungle while shades of orange suggest the safari tent. Naftal also dots the space with Victorian era lanterns, giving the safari tent a touch of class and period accuracy. One of the challenges of illuminating this thrust space is ensuring that actors’ faces can be seen—especially during scenes with dark washes.

Area Stage’s production of “Disney’s Tarzan” is fortunate enough to be accompanied by a live band. Arn Xu conducts this combo on the piano, with Luis Vargas on percussion, Daniel Soto on guitar and Jose Fuget on bass. Even without the brass and string sections from the original orchestration, this four-piece combo produces a full, rich sound with minimal arrangements.

Sound designer Abraham Oleksnianski faces the ambitious challenge of creating a seamless mix with a vocal ensemble and rock band for a small venue. During Act One, there were instances when the instrumental mix overpowered the cast. But by Act Two, Oleksnianski creates ephemeral moments of auditory gold—particularly during “Strangers Like Me,” “Everything That I Am” and the reprise of “Two Worlds.” These musical numbers showcase the ensemble’s harmonic blend without muddiness or feedback.

Coby Oram takes on the title role with physical agility and a primal gait, using the whole of his body to create a multidimensional Tarzan. Vocally, Oram sings with a timbre reminiscent of Steven Tyler or Constantine Maroulis. Even with slight nasality, his rock tenor range fits hand-in-glove with Collins’ score.

Grace Suarez, an adult woman, plays Young Tarzan, a role originated by a male child actor on Broadway. Suarez’s performance incorporates the use of a primitive Bunraku puppet. Even while operating this puppet with both hands, she maintains facial expressions that display a sense of cherubic curiosity. During the song “When Will I Be Me,” Suarez sings with a bright mix voice that delivers a youthful quality.

Katie Duerr plays Kala, Tarzan’s gorilla mother, while simultaneously serving as the show’s music director. She sings with a smooth mezzo-soprano range, controlled timbre and natural vibrato. This is especially apparent as she sings “You’ll Be In My Heart.” Her maternal instincts are natural and heartwarming. As she climbs, creeps, and contorts, she maintains a strong yet gentle physicality.

Iaran Hylton plays Terk, a young gorilla who befriends and protects Tarzan throughout his life. Hylton’s role is considered the main source of comic relief in this musical. He steals every scene with his sassy attitude, New York accent and high tenor range. During the Act Two opener “Trashin’ The Camp,” Hylton leads a rousing jazz anthem—scat singing with ease as the ensemble joins him in close harmony.

As Jane Porter, Siena Worland offers a crisp RP British dialect and a sweet, ingenue-like air. Her chemistry with Oram’s Tarzan seems grounded in reality—a slow burn love story that is easily hindered by the couple’s language barrier. Vocally, Worland belts and mixes with control even as she sings in her upper register. She maintains clear, consistent diction, even when identifying species classifications in Latin. During pre-show, Worland is engaging with the many “young explorers” that entered the theater, a skill she takes from her time as a vocalist on Dora the Explorer.

John Luis Mazuelos plays Jane’s father, Professor Porter, maintaining a stiff upper lip without appearing too posh. His clumsy charm is a living tribute to Captain Spaulding, Groucho Marx’s sidesplitting character in the film “Animal Crackers.”

At the same time, Mazuelo keeps his character grounded, never allowing Porter to slip into caricature territory. His interactions with Worland’s Jane are sweet and endearing, allowing us to see a more dynamic character. We see the most growth from Mazuelo’s Porter throughout the evening, as he evolves from a spineless animal enthusiast wishing to peacefully study gorillas to a stern, assertive leader who sees Tarzan as a loyal friend.

Frank Montoto plays both Kerchak, the leader of Tarzan’s gorilla tribe, and Mr. Clayton, a hyper-masculine poacher on safari with the Porters. This is a unique casting decision by Rodaz, as both characters appear to use hate and fear to create a divide between man and ape.

As Kerchak, Montoto gets to showcase his rich baritone voice with the song “No Other Way.” Even while playing a simian, his gait is the most human among the cast. As Clayton, Montoto speaks with a slight British dialect and moves with a more gruff demeanor. One could argue that Rodaz encouraged this subversive choice to symbolize how similar humans are to their primate ancestors.

Gabriella Alfonso plays the elusive and dangerous Leopard that threatens Tarzan’s gorilla tribe. In this role, Alfonso leaps across the stage with fluid yet forceful steps. Alfonso’s feline character is well-defined without saying a word. Her body does all the talking, as she performs this role wearing a laced red face mask as part of her costume.

Area Stage continues to deliver wholesome yet intelligent family entertainment that shatters the fourth wall. As this production of “Tarzan” continues its run through August 10, Millennial and Gen-Z parents can introduce their favorite characters and stories to the next generation. Rodaz’s stylized interpretation subverts expectations of a Disney musical. Through this meta theatrical staging, audiences can think about “Tarzan’s” inclusive and timely message of welcoming and loving the stranger.

Raised on the stage! How one man is bringing his passion to a theatre near you! | Miami Life Extra (CBS Miami)

In this week's Miami Life Extra: Our Jim Berry got the chance to sit down with Director Giancarlo Rodaz as his production of Disney's 'Tarzan' hits South Florida! See how his passion for performance has run in the family line. Jul 16, 2025

Preview: Disney’s “Tarzan” Musical Becomes an Immersive Adventure by Area Stage Co. (WTLGOMAG)

Following up immersive renditions of The Little Mermaid and Beauty and the Beast, the Sunset Place-based theatre troupe returns with a seldom-performed Disney classic

John Manarang July 18, 2025

The 1999 Disney Animated film Tarzan brought Edgar Rice Burrough’s story of a man raised by apes coming into contact with humans for the first time to the Broadway stage in 2006. Area Stage Co, the Sunset Place-based theatrical conservatory based out of Sunset Place has been steadily establishing themselves with immersive productions of Annie and Oliver!, replacing the casts of plucky orphans with a troupe of adults playing multiple roles.

Taking on Disney’s juggernauts crafting in-the-round renditions of The Little Mermaid and Beauty and the Beast, the company returns with a re-imagined version of Tarzan with previews from July 17-19 and an official opening night on July 19, running until August 10.

With a book by playwright David Henry Hwang, whose Broadway revival of Yellow Face won at the 78th Tony Awards, the music and lyrics come from Genesis frontman Phil Collins who wrote about nine new songs for the production. Collins’ songs here are performed by a live rock ensemble. Set in-the-round once again, Director Giancarlo Rodaz invites the audience as hunters and explorers into the world of the show as storytellers recall the story of Tarzan. Featuring the company’s signature immersive staging, the audience can expect atmospheric scenic design and interactive moments.

While the original Broadway production of Tarzan closed prematurely, possibly due to the fact that Disney was running Tarzan simultaneously alongside the more established hits of The Lion King and Beauty and the Beast (similar to the recent closure of Frozen), the Junior version has been a favorite of educators. Yet, the show has not often been produced by professional theater companies due to the scale of the production which involved actors swinging on flight rigs.

However, in recent years international renditions of the show have brought a new life to Tarzan and this version of the show promises to entirely transform the material. Area Stage Co’s Tarzan offers a transformative version of the familiar story that puts audiences right in the story, blurring the line between the audience and the action. Tarzan begins previews from July 17-19 and an official opening night on July 19, running until August 10 at their Sunset Place theater with tickets available here.