Tuesday, 31st October 2023 at Leeds Grand Theatre.
⭐️⭐️⭐️⭐️⭐️
Quite apart from being a powerhouse production of a firm favourite, this show – despite some of its darker and dated moments – is just a big warm hug, providing a perfect bubble of theatrical escapism to enjoy for a few hours.
In this 1951 classic of stage and screen from the great Rodgers and Hammerstein, The King of Siam employs a teacher from England to educate his wives (well, those in current “royal favour”) and children. Amidst cultural dissonance, historical background and personal, emotional foregrounds, this show offers a solid storyline and stellar musical appeal. It also remains relevant, retaining its comic value when it comes to gender politics and highlighting the perils of any kind of brutally rigid notions of hierarchy and superiority.
The latest cast, under direction of Bartlett Sher, are wonderful and make light work of Christopher Gattelli’s striking choreography (original choreography: Jerome Robbins) and Rodgers and Hammerstein II’s packed, lush score. With songs like “I Whistle a Happy Tune”, “Getting to Know You”, “Shall We Dance”, “Hello, Young Lovers” and “My Lord and Master” moving us between perky optimism and romance, longing and idealism, audiences can enjoy famous musical greats brought to life in all their richness.
Annalene Beechey and her fabulous voice are superb. Her “Mrs Anna” is charm itself: assured, witty, compassionate and determined to do what she feels is right – her performance certainly adds to the nostalgic comfort to be found in this piece. And if Anna is charm, then Darren Lee’s King of Siam is walking wit – of the wry variety. He wears authoritativeness as his crown and his flashes of fire and fury are beautifully offset by his comical, at times infantile stubbornness. They have excellent chemistry and provide a perfect pairing to lead us through this story.
In Cezarah Bonner’s Lady Thiang we find dignity personified; in Marienella Phillips and Dean John-Wilson’s Tuptim and Lun Tha we find empathy for passionate youth (and great appreciation for truly beautiful vocals); in Charlie McGuire’s Louis we find endearing yet precocious innocence. Caleb Lagayan is a definite stand-out as Prince Chulalongkorn, commanding the stage as only an insecure young heir to the throne, under the shadow of a towering king can – and he has a fantastic voice to boot. Lagayan’s flair for a dramatic entrance is challenged only by Kok-Hwa Lie’s Kralahome – a man following in the footsteps of his king when it comes to deadpan comedy and flashes of edginess.
Set and lighting designs from Michael Yeargan and Donald Holder provide ambience by stealth, appearing so smoothly that in a moment they can conjure impressions of grandeur, scale or transitioning moods. And speaking of grandeur – Catherine Zuber’s costume designs bring the stage to life with thrilling parades of colour and style – what I wouldn’t give for the chance to have a twirl in one of Mrs Anna’s famous dresses…
In this impeccably executed production, we may be swept along by the ups and downs of the story and characters, but ultimately, The King and I leaves us with full hearts. It really is a thing of beauty, and it’s well worth a visit.
The King and I is at Leeds Grand Theatre until November 4th, 2023 – more information and tickets can be found here. The show then continues to tour until March 2024 and more information about venues, dates and tickets can be found here.
Always Time For Theatre 