What happened to Julie Taymor? — Page 2

Kad said: "Taymor seems like the sort of figure who will receive a big re-examination sometime in the not distant future and be newly re-appreciated."

Heck, this re-examination may even include Turn Off the Dark.

Not to diminish the pains that that show wrought, but, in certain pockets of musical theater fans and comic fans (and fans of both), there seems to be a cock-eyed appreciation for the fact that Taymor was allowed to take such a huge swing with the property at all. Which is inconceivable after a decade-plus of the Intellectual Property-Based Movie Machines at work, which have signed up directors with distinct and idiosyncratic styles just to plop them in the director's chair and leave them to shout "Action" and "Cut."

Updated On: 1/30/26 at 07:06 PM

Idunno. Not saying she's prolific but Green Bird, Magic Flute, Midsummer, Spider-Man 1.0. were all notable projects and she has had a significant film career that is always available to be visited.

It's funny, I was just griping about the physical production of Ragtime in that thread. Lear and Julie have almost opposite strengths as directors in a way that also compliments what I find lacking in their productions. I don't know that someone of Taymor's sensibility and attitude would ever want to co-direct something but it would be nice to see a production that had her theatrical vision and deBessonnet's sensitivity with the performances.

I mean, when I think of, say, Hal Prince and even though the only one of his stagings I saw live was Evita, not only are there the video recordings of Pacific Overtures and Sweeney Todd, but the Broadway musical history books and websites are filled with images from his various shows, as well as specific moments descibed by people who saw them. He made history. We can say similar things about directors whose work almost no one still alive has ever seen, like Rouben Mamoulian or (in drama) Elia Kazan. I've never heard anyone outside the last couple of posts rhapsodize over Tramor's work beyond The Lion King. Maybe it is just too soon and she carried enough baggage that peole didn't want to acknowledge her work for awhile, but I just don't see enough of a record there to put her career among the important directors or give her much of a place in the history of musicals. shrug

Updated On: 1/30/26 at 11:09 PM

TotallyEffed said: "Her Magic Flute is divine."

While I disagree, it’s been a fixture at the Met for over a decade now in multiple forms. She must make bank on that as well. I’ll also say her Grounded at the Public was quite stunning, wish it would have transferred.

The Lion King on Broadway was and is a miracle. Thank you Julie.

Firstly, Julie Taymor came from a family of means (which is how she was able to go to the four corners of the world to study the theatre and puppetry elements she is now synonymous for) so I don't think making money has been the chief motivator in her career. If it seems she has slowed down in recent years, its worth remembering she already had a completely remarkable, full career before THE LION KING ever happened, and those of you that only know her for her work after that production should look these works up. Many were filmed and are extraordinary.

QueenAlice said: "Firstly, Julie Taymor came from a family of means (which is how she was able to go to the four corners of the world to study the theatre and puppetry elements she is now synonymous for) so I don't think making money has been the chief motivator in her career. If it seems she has slowed down in recent years, its worth remembering she already had a completely remarkable, full career before THE LION KING ever happened, and those of you that only know her for her work after that production should look these works up. Many were filmed and are extraordinary.

"

Anything you recommend?

She’s obviously not interested in doing theater or much of anything these days unlike Joe Mantello, who’s not far behind $Julie, who lives in Palm Springs much of the year but still works all the time

Eve a cursory review of her incomplete Wikipedia pages shows how prolific she has been.

https://en.wikipedia.org/wiki/Julie_Taymor

BenjaminNicholas2 said: "Taymor is a visionary. Always has been. Always will be. She takes risks. Swings big.

Sure, it hasn't always worked, but I defy anyone to say that the production design of Spiderman 1.0 wasn't brilliant. There was nothing like it and hasn't been since. Again, a massive risk that didn't pay off.

I admire directors who swing big."



Agreed. I saw it about a week before it "officially" opened.

I was not crazy about most of the score, which was a disappointment as I like U2. "Boy Falls From The Sky" was my favorite and is a favorite theater moment for me and I became a fan of Reeve Carney and his voice.

Outside of the music, it stands as the most visually stunning piece I have seen on a Broadway stage. Just jaw dropping visuals. We sat in that area in the Mezz I think they called The Fly Zone. I enjoyed it more than "The Lion King". JMO

Updated On: 2/1/26 at 11:22 AM

TheQuibbler said: "I love her crazy-ass film of Titus. I’d like to see her do more of that!"

Titus was infamous at my theater school. We all watched it so many times. So many interesting choices