After years of anticipation following its Melbourne debut in 2013 and a long search for a venue grand enough to house the towering 20-foot titan, King Kong triumphantly opened in New York in November 2018, marking its long-awaited US debut at the Broadway Theatre.
For this reimagined staging, playwright Jack Thorne was engaged to rewrite King Kong’s book for its Broadway debut, and Director/Choreographer Drew McOnie infused the show with kinetic energy and bold storytelling. Original creative powerhouses Marius De Vries, Eddie Perfect, Peter England, Roger Kirk, Peter Mumford and Peter Hylenski returned to rework their music, sets, costumes, lighting and sound, transforming their Melbourne masterpiece into a Broadway-sized spectacle.
The initial Kong prototype was a sophisticated robotic, eventually replaced in favour of a hybrid animatronic marionette brought to life by fourteen King’s Company puppeteers. The audience perception of Kong’s movement is also enhanced by video projection – integrating technology into its scenic design to amplify the sense of a shifting setting.
The Broadway production was co-produced with Broadway producer Roy Furman (known for co-producing numerous Tony award-winning shows, including The Book of Mormon and Dear Evan Hansen).
This marked Global Creatures’ first time producing on Broadway, marking an important milestone for the company.
WORLDWIDE
Credit Joan Marcus
Creatives
| Book | Jack Thorne |
| Director and Choreographer | Drew McOnie |
| Score and Music Producer | Marius De Vries |
| Songs | Eddie Perfect |
| Scenic and Projection Designer | Peter England |
| Creature Designer | Sonny Tilders |
| Costume Designer | Roger Kirk |
| Lighting Designer | Peter Mumford |
| Sound Designer | Peter Hylenski |
| Kong & Aerial Movement Director | Gavin Robins |
| Music Director | Michel Gacetta |
| Hair and Wig Designer | Tom Watson |
| Video & Projection Imaging Content | Artists in Motion |
| Orchestrations | Christopher Jahnke |
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Credit Matthew Murphy
Show FactKong stood 20 feet tall and weighed a whopping 2,400 pounds. -
Credit Matthew Murphy
Show FactOver 65 tonnes of steel were used in the construction of the set and equipment that brought Kong’s world to life. -
Credit Matthew Murphy
Show FactFifteen industrial servo motors, just like the ones used in NASA’s Mars exploration rovers, were used to control Kong’s eyebrows, eyelids, nose, lips, and jaw, giving him remarkably detailed and expressive facial movements.
Awards & Nominations
| Special Tony Award for Outstanding Contribution to Theatre for Sonny Tilders and the Creature Technology Company for their creation and deployment of King Kong |
| Best Scenic Design of a Musical | Peter England |
| Best Lighting Design of a Musical | Peter Mumford |
| Best Sound Design of a Musical | Peter Hylenski |
| Outstanding Puppet Design | Sonny Tilders |
| Outstanding Projection Design | Peter England |
| Outstanding Ensemble In A Broadway Show |
| Outstanding Production Of A Musical |
| Outstanding Projection Design | Peter England |
| Outstanding Sound Design | Peter Hylenski |
| Special Achievement Award | Puppetry Team That Created and Operates “Kong” |
| Outstanding Lighting Design | Peter Mumford |
Gallery
SOCIAL RESPONSIBILITY
At its core, King Kong is a story about a misunderstood being — one that challenges us to confront fear, otherness, and the capacity for empathy. This helped shape not only the storytelling on stage but also how we approached representation behind the scenes and in our audiences.
From casting to creative collaboration to community outreach, we sought to ensure the production reflected a diversity of voices and experiences through a range of outreach programs and community initiatives, including:
- Partnering with The New York City Children’s Holiday Party to bring nearly 800 children from 38 different homeless shelters to experience the show. After the performance, each child received gifts and a backpack with educational supplies and departed the show with a merry send-off from Santa.
- Hosting a special post-show talkback tailored to members of the Asian community, moderated by Harmonia Holdings’ Global Director of Communications Ava Zhou. The panel included principal and ensemble cast members, including four of the five Asian American cast, and offered space to discuss representation and identity on Broadway.
- Live cast performances at free community events like Broadway in Bryant Park and Stars in the Alley, bringing the show to new audiences beyond the theatre.
- Participation in Kids’ Night on Broadway, helping make theatre more accessible and exciting for young audiences.
- Commitment to inclusivity through ASL-interpreted and audio-described performances.
- Multilingual access efforts, such as the show’s official website, in-theatre show descriptions, and flyers translated into Simplified Chinese (简体中文), Japanese, Portuguese, and Spanish. The GalaPro app also enabled real-time subtitles in various languages, including Simplified Chinese.
- Supported students at PS 49x in creating their own puppet show about misunderstood creatures, inspired by their experience seeing King Kong.
- Expanded access for international audiences through ticket availability on major Chinese travel platforms such as Ctrip, Mafengwo, Fliggy, Wannar, Klook, and more.
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Credit Gail Schulman
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Credit Genevieve Rafter Keddy
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Credit Emilio Madrid Kuser
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Credit Gail Schulman
EQUITY, DIVERSITY & INCLUSION
In a historic move, Christiani Pitts was cast as Ann Darrow, marking the first time a Black actress played this iconic role since King Kong’s original 1933 screen debut. Pitts embraced the opportunity, recognising the significance of bringing depth and authenticity to Ann’s character, especially considering the challenges a woman of colour would face in 1930s New York. “I don’t take playing the role of Ann Darrow lightly. This is an iconic role and no one that looks like me has never gotten a chance to do it” said Christiani Pitts (essence.com 6 Dec 2020).
She aimed to transform Ann from a traditional damsel in distress into an empowered heroine, reflecting the resilience and determination of many during that era.
“Kong is the embodiment of the Other.” said Pitts adding: “This version embodies strength and otherness, and by otherness I mean, Ann is a Black woman who moves to New York City with absolutely nothing but a dream and a suitcase, and she’s surrounded by beautiful chorus girls. She’s seen herself represented but she just can’t get a chance. What I am learning in playing Ann Darrow, is how to take the things that make me different, to walk in them, to stride with power instead of being ashamed [of] it — she’s a superhero.”
By casting Pitts and reimaging in Ann Darrow’s character, Producer Carmen Pavlovic not only honoured the original narrative but also adapted it to resonate with contemporary audiences, promoting a message of empowerment and representation.
Central to the production was the portrayal of Kong, a groundbreaking fusion of animatronics and puppetry. This 20-foot-tall, 2,400-pound puppet was brought to life by a dedicated team known as the “Kings Men”, comprising 35 on-stage and off-stage puppeteers. They operated Kong using a combination of hydraulics, automation, and manual manipulations. We made sure women were incorporated into the puppetry and performance group on Broadway, and they were renamed the “Kings Company”.
Industry Development
WORKFORCE DEVELOPMENT
On 28 March 2019, we partnered with leading NYC arts education nonprofit Inside Broadway to present a special Creating the Magic program, which offered over 2,000 public school students from Brooklyn, the Bronx, Queens, and Manhattan an exclusive, behind-the-scenes look at the 20-foot-tall, 2,000-pound King Kong. Students heard firsthand from the puppeteers and effects crew about the teamwork, technology, and artistry involved in bringing Kong to life on stage in an effort to inspire more students to pursue technical theatre.
By spotlighting the often unseen roles that power live performance from automation and sound design to puppetry and stage management, we hoped to ignite curiosity and show young people that a future in theatre isn’t limited to the spotlight, but thrives behind it.
What it's Like Working on the Show
KEY DATES
2018 |
5 October — First previews of King Kong begin, introducing New York audiences to the production for the very first time. |
2018 |
8 November — The curtain rises on King Kong’s official Broadway opening. |
2019 |
18 August — King Kong takes his final bow on Broadway, closing an unforgettable chapter. |
