The palpable chemistry, noticeable friction, and tumultuous emotions exchanged between Helen George and Darren Lee on stage was dazzling

Rarely do you get the opportunity to witness a recipient of four Tony Awards in Salford. Yesterday was a unique occasion for me as I had the privilege of watching The King and I, the renowned Rodgers and Hammerstein classic adapted from Margaret Landon’s novel Anna and the King of Siam. It proved to be a truly majestic experience!

Directed by the Tony award-winning Barlett Sher, this production exceeded expectations. As a devoted Call the Midwife enthusiast, I eagerly anticipated whether Helen George could live up to the high standard she set in her previous televised projects. To my delight, her singing and acting prowess left me yearning for more. George demonstrated impeccable comedic timing, genuine kindness in her interactions with children on stage, and a captivating demeanour that demanded attention from the King with graceful competence. This, coupled with her flawless singing performance, was truly fascinating.

Conversely, my knowledge of Darren Lee was quite limited. He infused the character of the King with a distinctly human quality, introducing a touch of vulnerability that rendered him a truly authentic figure. This portrayal showcased the King as a complex character, complete with flaws, uncertainties, and inner conflicts between adhering to tradition and following his own instincts. Despite the King’s inherently misogynistic traits and megalomaniacal tendencies, including accepting a girl as a slave, Lee portrayed him with remarkable vigor. He commanded respect while also displaying moments of playfulness, cheekiness, and thoughtfulness. At times, I even found myself sympathising with the enigmatic ruler of Siam.

The palpable chemistry, noticeable friction, and tumultuous emotions exchanged between George and Lee on stage create a truly immersive experience. The nuanced portrayal of their relationship adds layers of complexity, making it a poignant and memorable aspect of the theatrical experience – far from the simplistic dynamics in the movie and in previous adaptations of the source material.

Dean John-Wilson and Marienella Phillips also deliver poignant performances as Lun Tha and Tuptim, expressing tender emotions and defiance. Sam Jenkins-Shaw, Kok-Hwa Lie, and Chi Chan complete the main cast with Jenkins-Shaw’s suave sophistication, Lie’s intimidating strength, and Chan’s humor infused with meticulous detail. Cezarah Bonner skillfully portrays Lady Thiang, exploring love intricacies with dignified strength in her rendition of “Something Wonderful.” Caleb Lagayan impressively embodies Prince Chulalongkorn, conveying innocence, arrogance, and internal conflicts in his powerful “Puzzlement” rendition. Lagayan’s seamless chemistry with Louis Levy creates scenes rich with loyalty and doubt.

I withhold a complete 5-star rating for the show, as my perspective differs from the majority; I perceive it as a relic of a bygone era in musical theatre. While the musical score retains its flawless quality and the narrative remains gripping, captivating, and filled with suspense, it falls short in addressing contemporary sensitivities. In the aftermath of the COVID pandemic, where individuals were recently subjected to vilification based on their origins, and with media often portraying the Far East in an exoticized and romance-filled manner lacking sensitivity, a production that refrains from rewriting history and emphasising accuracy may appear inadequate.

While acknowledging Bartlett Sher’s commendable efforts to critique white superiority and challenge the notion that the Siamese people were barbarians simply due to a lack of understanding of British customs, structural issues persist in how the show portrays delicate subjects such as slavery, murder, flagellation, prostitution, polygamy, and human trafficking. Furthermore, the consistent degradation of women and the racialized “other”-ing of the Siamese people cannot be entirely rectified through excellent direction, meticulous attention to details, and a commitment to period accuracy.

I express the hope for a future revision of this classic, potentially from a Thai perspective. Such a reimagining could offer a more nuanced and culturally sensitive portrayal, addressing the complexities of the narrative with a contemporary lens, and fostering a deeper understanding of historical and cultural dynamics.