Classic, clever, and comical in places, this show is still loved for a reason. This marvellous cast, gorgeous costumes, and beautiful staging is a brilliant addition to the archive.
The King and I, a Rodgers and Hammerstein musical that premiered on Broadway in March 1951, directed by Bartlett Sher is a fantastic addition to the show’s history. The diligent use of the stage, with thoughtful positioning of the cast and clever props, ensured the space was not only well used but also never felt crowded unless except when intended to overwhelm Anna. The ship seemed to fill the stage completely until there were people sharing it, then it seemed to fit perfectly.
Each and every scene change was smooth, fitting in to the show with ease and preventing any gaps in the story. Lighting was utilised effectively, to show changing spaces in ways that complimented cast without distracting from them. The costumes were beautiful, with rich, deep, colours chosen intentionally – one such deliberate choice can be seen clearly in Anna’s dresses. Anna, played by Maria Coyne, began the show in a rich light blue, her second gown was very pale blue, her third was a pale pink, and her fourth and final costume was an incredibly deep, dark, red that matched that worn throughout the show by most of the residents of the Palace, and the King himself. It gave some physical indication of growth of Anna’s attachment to and affection of Siam, and it’s King.
While every single cast member was truly phenomenal, including the children and ballet dancers, the absolute gem in the crown was Cezarah Bonner’s performance as Lady Thiang. Bonner’s stage presence was astounding, she held herself with power and dignity throughout, while truly complementing the power and hidden vulnerability of Brian Rivera’s King. However, when she was highest ranking person on stage, she truly commanded and clearly oversaw everything – nothing happened that she was unaware of. When she was alone, Bonner filled the stage, both with her vocals and her sheer presence. It was a sight to behold, and an honour to watch.
The children were wonderful, each having their own distinct personality and bringing beautiful humour to some special moments. The eldest sons, played by Caleb Lagayan (Prince Chulalongkorn) and Charlie McGuire (Louis Leonowens), were performed in delightfully complementary ways, that perfectly highlighted their similarities and differences, this culminated in their duet.
The vocals from each performer were compelling and showed the great emotional depth of each character and the performers understanding of them.
The King and I contains some difficult themes, after all it is over 70 years old, and they were navigated gracefully. There’s also the ability to be open to new interpretations of some of the songs, including agreeing with the Palace women about the ridiculousness of the women’s fashion and culture of the Western world in the 1860s. While the show hasn’t changed, the continued enjoyment of it allows the changing interpretations and the ability to review history, and historical views, that encourage a desire to learn from mistakes. This, at its heart, is what the show is about – learning from each other and the past – there isn’t a particularly happy ending to the show, but it is one of opportunity and hope for the future. Every end of an era brings the dawn of a new one.
The desires within the show are timeless and universal – to love and be loved, to live honestly and be understood, and to have a home where people are safe and happy. It’s worth the watch and is clear why the show has lasted the test of time.