In a 2015 interview with PerthNow, Australian actor Josh Quong Tart described Scar as more than a melodramatic antagonist: the character’s pursuit of power, Shakespearean dimensions and eventual emptiness gave him a substantial dramatic journey to play.
Why Scar appealed to Quong Tart
Quong Tart said Scar’s story had both Shakespearean and classical elements—qualities that made the role exciting for him as an actor. In the interview, he framed Scar’s appeal around the character’s drive for power and the consequences of getting what he wants.
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“There is absolutely something Shakespearean about the story and there are classical elements to Scar, which are very exciting for me as an actor.”
For Quong Tart, Scar’s journey was not simply a bid to seize power. The character gains it, then loses it, and discovers that power has not made him feel complete.
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“He’s got a very definite journey and the audience goes along with him on that, which is that he really, really, really wants power and he’s going to get it one way or another.”
“They see him actively pursue power, receive it and then lose it again … It’s that amazing concept of someone who thinks power is going to make him whole and then he realises ‘Actually, I feel emptier than I ever have — what is wrong with this picture?’”
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Finding something familiar in Scar
Quong Tart also found a relatable feeling beneath Scar’s villainy: the sense that a sibling receives more attention, or that life has not given you what you deserve. That frustration does not excuse Scar’s actions; it helps explain the personal grievance Quong Tart saw beneath the character’s ambition.
The masks behind Scar’s stage presence
PerthNow’s 2015 article included production figures about the masks worn by Scar and Mufasa. It reported that Scar’s mask weighed 198 grams, compared with 312 grams for Mufasa’s. Each character had two masks: one moving mask and one stationary headdress. These are figures reported in the 2015 article, not independently verified current production specifications.
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The production and its 2015 Perth engagement
The interview concerned the Julie Taymor production of the The Lion King musical, described in the article as Tony Award-winning. At the time, the Melbourne run was nearing its end, and PerthNow reported a Crown Theatre Perth engagement from November 18, 2015, to February 28, 2016, with tickets available through Ticketmaster. Those dates and ticket details are historical, not a current performance listing.
PerthNow’s 2015 “The Lion King by the numbers” section also reported that the show had been seen by more than 75 million people in 20 countries, had been performed in eight languages, and directly employed almost 1,100 people around the world. The article listed more than 70 major arts awards, including six Tony Awards, eight Drama Desk Awards and two Laurence Olivier Awards. These are figures as printed by PerthNow in 2015; the article does not identify the original publisher of the totals.
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What the interview says about audience access and grief
Fellow actor Robert Collins spoke in the interview about autism-friendly performances, saying the cast looked forward to them. He also described the show as a way for audiences to think about death, loss and grief. These are Collins’s reflections in the 2015 interview, rather than a broader claim about how every audience experiences the production.
“One of the great privileges of the show is that we do an autism-friendly performance in every state and the whole cast really looks forward to it and we love it,”
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Read the original PerthNow interview by Kristy Symonds, published October 9, 2015.
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