My first memory of this wonderful musical was as a boy, playing an EP of the 1956 film soundtrack starring Yul Brynner and Deborah Kerr - a Spanish record sleeve proudly proclaiming that this was El Rey Y Yo! (although where the Spanish sleeve came from I have no idea since my mother has to my certain knowledge never set foot on Spanish soil.. however, I digress...).I have been hooked ever since. If ever Musical Theatre has had an enduring partnership made in heaven, then that of Richard Rogers and Oscar Hammerstein II were surely it. 'Oklahoma!', 'Carousel', 'South Pacific', 'The Sound Of Music'... the list is endless, full of timeless and evocative classics. And of course, 'The King And I' is no different.
Based on the 1944 romantic novel, Anna And The King Of Siam (although a fantasy, most certainly based on reality although more than probably a different Anna and a different King!), this musical tells the story of prim Welsh governess and English Teacher, Anna Leonowens and her young son, arriving in Siam (modern day Thailand) to teach the King's many children. The story touches you on many levels, and it's themes: class barriers, traditions, racism, elitism, lack of understanding and acceptance of others' differences, and feminism, are still very big and 'modern' issues today. It is also essentially a love story too, but if you don't already know the plot, I am not about to spoil it for you here!
At this point it would be very easy to get swept up in a mass of positive superlatives, since this production was one of the most wonderful shows I have seen in a very long time. Everything about the show was just magical. Sitting in the audience with my "critical head" on, then there were a few things which I could nit-pick at.. but these would seriously be very minor niggles, and for the most part very subjective and personal preference. Every aspect of this show was both traditional and relevant, superbly designed (I loved the boat) (Michael Yeargan) and costumes, lighting and sound all came togther to ameliorate and aid the story without descending to cliché or overuse. I admired the idea of keeping a very traditional feel to the show using a gold curtain to serve for 'front-of-tabs' scenes.
Praise also has to go to choreographer Christopher Gattelli for 'The Small House Of Uncle Thomas' sequence. This section here, very much like 'The Awfull Battle of The Pekes and the Pollicles' in 'Cats' can make or break a production, and so many times they are performed quite badly. Probably because they are the most difficult sections of their respective shows, and musically and stylistically both jar a little with the tone of the rest of the show. I am more than happy to relate that here this section was the finest I have ever seen it.
Huge credit too to director Bartlett Sher for not making this production 'modern' or 'sensationalist'. For not 'reimagining it for the 21st Century', but instead trusting in the original scoring and libretto, and even utilising all the music (incuding overture and entr'acte, which does lengthen the running time of the show, but adds to the overall experience). This is a director who can bring his own ideas in to a production and yet still keep the production true to its original creators. Not only that, but he did not shy away from the more contentious and dramatic moments of the narrative either, and in act 2, the more emotive and tragic of the two acts, there were moments of high drama worthy of Shakespeare.
Young children, older children, chorus, ensemble, etcetera, etcetera, etcetera..., were all excellent and worthy of individual praise. Of course though, this musical's success rests on the shoulders of only two, that of The King of Siam and Anna [Me King and You School Teacher!] This evening these shoes were filled by Annalene Beechey and Jose Llana. Beechey played the role with a certain earnestness and piety, but not without heart. Her singing was lovely and her on-stage chemistry with Llana was at times simply electric. Llana's interpretation of The King was much more humorous and more aware than I have seen previously and this worked excellently and very much in his favour. Every facial expression, every gesture, every thought process imaculately timed and thought-through. Absolutely superb, and I was spell-bound.
This site does not give star ratings - however, for this show I am willing to make an exception, and say that out of 5 stars, I give it a 6! The musical theatre world at the moment is choked with tribute shows, juke-box shows, Rock Operas, and banal, inane, off-Broadway style comedies. 'The King And I' brings a breath of fresh air into this mix and proves beyond doubt that "class will out" and these traditional book musicals still have a very special place in our modern Musical Theatre repertoire.
Reviewer - Matthew Dougall
on - 30/4/19
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