Tag Archives: bartlett sher

The King and I (Opera House, Manchester)

It was a pleasure to revisit Bartlett Sher’s revival of this superlative period musical after seeing it at the London Palladium last summer.

Here we have a cast change and in particular, a very different portrayal of the King of Siam who wishes to modernise. I saw Ken Watanabe play the role in London and he was abrasive and sizzling with frustration at the gap between his ability and his ambition.

In the tour, Jose Llana makes a playful, and likeable monarch, finding his match in Annalene Beechey’s modern “Mrs Anna”, who has no time for court customs of “grovelling like a toad” and who proclaims a woman to be the equal of a man in importance and intelligence.

Rodgers and Hammerstein’s score remains sharp, moving and vibrant, with opportunities for Cezarah Bonner (a dignified Lady Thiang, who completely accepts the natural order of things), Kamm Kunaree (a sweet-voiced Tuptim, slave bride from Burma who “loves another man”), and Aaron Teoh (the Crown Prince who perfectly evokes the transition from proud and imperious boy to a man who will achieve what his father has not).

The book may be lengthy and at times, out of step with the times, but with strong female roles, adorable children, and that joyous “Shall We Dance” number (as well as copious chances for sniffles), it certainly ticks the boxes for entertainment.

The King and I runs in Manchester until 11 May, before continuing on its tour.

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The King and I (London Palladium)

A glorious revival of one of the greats of the American Songbook has taken residence at the Palladium, in a perceptive production directed by Bartlett Sher.

The leading principals, Ken Watanabe and Kelli O’Hara, have enviable chemistry and an ear for Rodgers and Hammerstein’s glorious score and lyrics.

With the original book draft plundered for new and apposite political references, and culturally appropriate casting, this show obtains a sense of new relevance, especially in the Act Two showpiece The Small House of Uncle Thomas (“written by a woman, Harriet Beecher Stowe”).

This fits the narrative of the Burmese girl, Tuptim (Na-Young Jeon, in a mature and heartbreaking performance) torn from her home and lover in Burma and sold in sexual and emotional slavery to the King.

This King, though, struggles with the traditions which revere him close to a deity, allow his subordinates to grovel in supplication, and give him many wives and children; and a thirst for modernity and knowledge.

Into this mix comes Anna Leonowens, a widowed schoolteacher, who comes to teach the children (and it transpires, some of the wives too) about Western facts and ways.

How much influence the real Anna had on the Siamese King is up to question, but in this fictionalisation a grudging respect and affection develops within the pair, the curious King and the feisty Anna.

Head wife Lady Thiang understands that change is necessary, but also understands her husband – Naoko Mori’s rendition of Something Wonderful is as touching as O’Hara’s Hello Young Lovers as an anthem of knowing devotion.

This is a sumptous production with a talented supporting cast of youngsters and an excellent orchestra. Don’t miss.

The King and I continues at the London Palladium until the 29th September 2018.


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