Bartlett Sher’s magnificent revival of The
King and I has finally reached Toronto after it was first performed in
New York more than three years ago. It is a national tour production but the
virtues of Sher’s directing are there with a few
complaints about the vocal prowess of some of the cast.
The King and I premiered in a different world
in 1951 and some of the differences are quite pronounced but you should take
the musical at face value and enjoy it for what it is – a love story in a
strange place, a long time ago.
The cast of Rodgers & Hammerstein's The King and I.
Photo by Matthew Murphy
Sher and the set and costume designer (Michael
Yeargan and Donald Holder, receptively) grab our attention and dazzle us right
from the opening scene. As the glittery curtain opens, we witness the arrival
of a large ship into a harbour. It is dark, the sky is red and the mooring of
the ship is impressive. With the help of Captain Orton (Baylen Thomas) we meet
Anna Leonowens (Elena Shaddow) and her son Louis (Ryan Stout).
She is an attractive, gutsy widow going to the
palace of the King of Siam to teach his multitude of children. She asserts her independence
from the moment she sets foot in a country where she knows no one and does not
hesitate to put her foot down against the Prime Minister (Brian Rivera).
Parts of the expertly designed set are turned
around and moved quickly to change the scene to the palace. Here we meet the
royal household and of course the King (Jose Llana). He is an interesting
character. He wants to be scientific, civilized and learned. He reads the Bible
and wants to adopt Western ideas. But he is a traditional absolute monarch to
whom everyone bows, indeed grovels.
We are in the 1860’s and Anna is dressed in a
beautiful gown with a petticoat that defined elegance and style in the
Victorian era. In my unstylish eye it looked as if she was wearing a tepee that
dragged behind her and she had to lift it every time she walked.
We delight in Anna’s pluck as she stands up to
the King but also goes down to the floor because she is not permitted to sit or
stand higher than him. The King in his mannerisms and attempts to sound Western
is almost childlike. In his general attitudes he is a despot who considers
women as lesser beings (so did everyone in the West) but the two are attracted
to each other and develop a touching kiss-less love relationship.
Elena Shaddow, Baylen Thomas and Rhyees Stump in Rodgers
& Hammerstein's
The King and I.
Photo by Jeremy Daniel
There is a subplot involving the slave Tuptim
(Q Lim) and her lover Lun Tha (Kavin Panmeechao). The lovers attempt to escape
in a manner reminiscent of Uncle Tom’s Cabin. There is ballet
sequence based on the plot of that novel which brings about the climax of the
play.
The original production was choreographed by
Jerome Robbins and the current choreography by Christopher Gattelli is based on
that. The ballet sequence and the general chorography are simply splendid.
Songs like “I Whistle a Happy Tune,” “Getting
to Know You” and “Shall We Dance” are vintage Richard Rodgers melodies that are
a delight to hear. There are many of them in the show. Not all the singers had
the vocal range one would want to hear but overall the singing was quite good.
One hell of a good show.
__________
The King and I by Richard Rodgers
(music) and Oscar Hammerstein II (books and lyrics) will play until August 12,
2018 at the Princess of
Wales Theatre, 300 King St. West, Toronto , Ontario . www.mirvish.com/ 416 872 1212
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