The King and I by Rogers and Hammerstein – Theatre Royal Plymouth until 23 September 2023 and touring.

5✩✩✩✩✩ Review: Cormac Richards.

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Review – 19 September 2023

Running time – 3 hours – 1 interval

The 2015 Lincoln Center Theater Production of Rodgers and Hammerstein’s ‘The King and I’ does not feature the cast on rollerskates and has not been transposed into a dystopian land on the moon. The cast do not wear ripped jeans and t-shirts carrying slogans about the environment. I could go on…. No, there is something incredibly refreshing here. A carefully crafted, big scale musical production which is treated with care and respect while still feeling fresh, vibrant and thrilling.

The production, directed by Bartlett Sher, has garnered plaudits wherever it has been performed and it is not difficult to see why. The 1951 Broadway show, based on the writing of Margaret Landon, and telling the story of the English woman who becomes teacher to the children of the King of Siam, is a fully-fledged classic musical. Brought to life with one of the best books and a score jampacked with fabulous melodies, it is a big show in every sense. To do it justice means you have to go large and this production more than meets the challenge.

Michael Yeargan’s set designs give a sense of grandeur and scale without being cumbersome and the gliding pillars and billowing golden curtains provide a magisterial quality. Costume designs too, by Catherine Zuber, are traditional, eye-catching and sumptuous. Though the heavy use of follow spots does get a little distracting, the lighting on the whole is atmospheric and the sound balance excellent. Occasionally I wanted an even fuller sound from the orchestra, but their playing of Rogers’ score is exemplary.

Annalene Beechey is simply brilliant as Anna Leonowens; a fierce adversary for the King, her independent-minded approach to life is the basis of her heartfelt desire to see some equality for women in Siam – as campaigners for women’s rights go, she is a notable pioneer. Beechey’s voice is of such beauty that it can induce moisture in the eyes, it is a rare gift. Brian Rivera’s King is an imposing man, bodily and vocally and the verbal sparring between the leads is excellent – there is real chemistry here. The cast is impressive with excellent performances from Cezarah Bonner as Lady Thiang, Marienella Phillips as Tuptim, Caleb Lagayan as Prince Chulalongkorn, Chi Chan as The Kralahome and Dean John-Wilson as Lun Tha as well as a smart little performance from Charlie McGuire as Louis Leonowens. Not, of course, forgetting the King’s children, who are wonderfully disciplined and gain the affection of the audience as soon as they appear.

Sher has brought out as much humour from the script as possible and it gives the show so much more depth than the average musical when sit it beside the far more serious and emotional sections. The ‘ballet’ sequence of ‘The Small House of Uncle Thomas’ can often create an issue in the show – it is quite long and, though relevant, doesn’t do a huge amount to take the story along; but when it is performed as well as here, then you just luxuriate in the quality which is offered.

This is a magnificent production of a wonderful show and, unlike many others, fully deserved the standing ovation it received.

Cast

Anna Leonowens – Annalene Beechey

King of Siam – Brian Rivera

Lady Thiang – Cezerah Bonner

Captain Orton/Sir Edward Ramsey – Sam Jenkins-Shaw

Lun Tha – Dean John-Wilson

Prince Chulalongkorn – Caleb Lagayan

Tuptim – Marienella Phillips

Kralahome – Chi Chan

Louis Leonowens – Charlie McGuire

Creatives

Writers – Richard Rodgers & Oscar Hammerstein

Director – Bartlett Sher

Set Design – Michael Yeargan

Costume Design – Catherine Zuber

Lighting – Donald Holder

Sound – Scott Lehrer

Choreography – Christopher Gattelli – based on choreography by Jerome Robbins

Musical Director – Christopher Mundy