Susan Granger’s review of “The King and I” (Lincoln Center Theater: April, 2015)
Director Bartlett Sher dazzles with his sumptuous revival of Richard Rodgers and Oscar Hammerstein’s classic 1951 musical, beginning with the arrival of a massive ship, bringing British widow Anna Leonowens (Kelli O’Hara) and her young son Louis (Jake Lucas) from Singapore to Bangkok for her job as schoolteacher to the Royal children and their mothers.
When Louis expresses his fear of such a strange place, Anna reminds him to “Whistle a Happy Tune,” one that she herself will repeat when faced with the intelligent, if imperious King (Ken Watanabe).
Although their relationship is marked by a continuing cultural conflict over patriarchy and women’s rights, along with the bigger issues of slavery and freedom, feisty Anna soon becomes aware that she’s been hired as part of the King’s drive to modernize his country, as well as maintain its independence as a nation.
Based on Margaret Landon’s 1944 novel “Anna and the King of Siam,” it’s derived from the real memoirs of Anna Leonowens, governess to the children of King Mongkut of Siam in the early 1860s.
As Anna, four-time Tony nominee Kelli O’Hara is exquisite, singing “Hello, Young Lovers” and “Getting to Know You” in her rich, lilting soprano. Although no one can ever fill Yul Brynner’s imposing shoes, Oscar-nominated Japanese star Ken Watanabe (“The Last Samurai”) embodies the proudly autocratic monarch whose English diction is slurred at times; it’s particularly garbled during his pivotal solo “A Puzzlement.”
Ashley Park and Conrad Rickamora shine as the clandestine young lovers from Burma, warbling the wistful “We Kiss in the Shadow” and “I Have Dreamed,” while Ruthie Ann Miles scores as devoted Lady Thiang, clarifying the King’s forceful behavior to Anna in “Something Wonderful.”
“The March of the Siamese Children” reveals many adorable youngsters, each with individual quirks, along with their protective mothers. Jon Viktor Corpuz is memorable as the eldest, Prince Chulalongkorn.
This ambitious production is spectacular and sublime – from the 29-piece orchestra, led by Ted Sperling, to Michael Yeargan’s resplendent Royal Palace with its giant golden Buddha and Catherine Zuber’s colorful costumes and Donald Holder’s subtle lighting.
Act II’s play-within-a-play, a Siamese interpretation of “Uncle Tom’s Cabin,” is flawless, recalling Jerome Robbins’ original choreography, adapted by Christopher Gattelli.
Indeed, by the time Anna and the King clasp each other tight, whirling to “Shall We Dance?” their performance is something wonderful to behold.