Tarzan: The Stage Musical (James Terry Collective), at The National Theatre - 2 hours 10 minutes, including interval ★★★★

How do you find your rightful place in the world? Where do you fit in? In the case of Tarzan, is it in the big city, among humans, or in the jungle, where he was raised by gorillas?

That is the conceit at the heart of Tarzan, The Stage Musical.

Tarzan is born to loving parents, who, along with him, are shipwrecked off the coast of Africa.

It is then that his mother and father fall prey to a hungry leopard.

The predatory big cat has also taken the infant son of Kerchak – the leader of a tribe of gorillas – and his mate, Kala.

When Kala discovers the orphan Tarzan, she determines that she will bring him up as her own, even though Kerchak is vehemently against the idea.

Given that he has already witnessed the harm that humans pose, Kerchak sees Tarzan as a threat.

Time and again, Tarzan must prove himself to Kerchak and show him how much he genuinely cares for his family of apes, and puts them first.

But the arrival of young English naturalist Jane Porter and her party changes everything.

Along with her father, Professor Porter, they are there to study gorillas in the wild, although their guide, Clayton, has other, more nefarious plans.

Suddenly, the whole tribe of guerillas is threatened, as Tarzan and Jane form an unmistakable bond.

Tarzan: The Stage Musical is based on the Walt Disney Animation Studios’ 1999 film Tarzan and Edgar Rice Burrough’s 1912 novel Tarzan of the Apes.

The music and lyrics are by Phil Collins and book by David Henry Hwang.

It is a moving, family friendly, adventure story.

Musically … melodically, the cast is mighty impressive.

It starts with the big sound of Sarah Murr as Kala, the protective mother and extends to the most attractive depth in the voice of Devon Braithwaite as Kerchak. The pair has gravitas, strength and purpose.

Adopting ape-like mannerisms, Joshua Russell is convincing and compelling as Tarzan.

Emily Robinson, who only graduated from the Victorian College of the Arts at the end of last year, is charming, delightful and quite the revelation as Jane.

There is a ham-fisted joy and humour about Trent Owers as Tarzan’s best mate and guide Terk.

Drew Holmes has a beaut turn of phrase as Jane’s proud father, Professor Porter. He is superb.

Nick Eynaud inhabits the villain of the piece, Clayton, with showy arrogance and entitlement.

Being child performers, Daniel Lim and Sebastian Dovey Cribbes share the role of the young Tarzan, learning to navigate the complexities of the situation he is in. Sebastian rose to the occasion when I saw the show.

They are supported by an enthusiastic ensemble, gorilla costuming at the ready.

In fact, the clever, strand costuming for the apes by Bianco Pardo, coupled with well-placed make-up, is most effective.

When it comes to staging, a nautical theme, with an old-fashioned map highlighting Africa, makes a favourable first impression.

Crates, sail cloth and ropes are at the ready. Add to that timber and you have evocative design cues from Jacob Battista.

The strands I referenced when it comes to the costumes carry over into the ongoing representation of the forest.

Strong sound design by Marcello Lo Ricco and mood lighting by Declan O’Neill transport us to the heart of the action.

Well-choreographed by Michael Ralph, musical director Claire Healy ensures the songs resonate and tell the story.

Director Alister Smith brings emotional maturity to a tale that transcends generations. All three generations I brought me were swept along and enjoyed the show.

Heartbreak, discovery, curiosity, fear, love and happiness sit comfortably alongside one another in Tarzan: The Stage Musical.

Two hours 10 minutes, including interval, it is on at the National Theatre in St Kilda until 14^th September, 2025.