The King and I

“The King and I” has enjoyed a distinguished reputation since its First Night and remains a favourite of most audiences. It is full of musical “standards” which are regularly included in concerts and recitals. The story is very well told by Hammerstein at the peak of his powers and complemented by some of Rodgers most atmospheric numbers. 

This presentation sought to bring the production techniques into the twenty-first century while respecting the author's original intentions.  Shows of the early fifties continued the pre-war desire for a “full night's entertainment” and this show can run very long. With simple settings, some well paced dialogue and some judicious cutting this presentation was bright and speedy without losing the emotional side and proving to be most moving at the climax.

The use of a thrust stage which enclosed the orchestra served successfully to bring important sections of the dialogue to the fore and as a mute to the orchestra. To this end with competent sound operation the balance between voices and accompaniment was pleasing throughout.   Aided by good diction the lyrics came over well. Once or twice the underscoring proved a little heavy, but generally this was well handled.

The screens, lowered for some scenes, offered sufficient contrast between locations and kept things moving. There was barely any waiting before proceeding with the action which enabled the audience to keep abreast of the story and in places engendered a feeling of events moving with a pace that ran away from the protagonists. The composite setting with its impressive elephants had an appropriate grandeur and focussed the attention on the appropriate parts of the action. The pre-setting of scenes behind the screens speeded things up, but did mean that the crucial scene in Mrs. Anna's bedroom was very far away. This did mean that her soliloquy did not have the same impact as the King's had done.  It also meant that Lady Thiang's “Something Wonderful” was also rather distant. While disappointing it did not detract from the overall presentation.

The ballet was acceptably different using shadow puppets as well as live dancers. The story telling and characterisations were distinct and amusing. Tuptim's inappropriate comments were well handled with appropriate sincerity and suitable reaction from the other players. This whole scene was successfully staged with excellent accompaniment.

The young people offered excellent contributions to the whole ably led by a very charming Prince Chulalongkorn. He had a warm relationship with Louis; again a well played role. The King's Children worked the Schoolroom scene with consummate ease. They were appropriately bright and lovable. Their movement and their relations with their mothers were very good and quite genuine.

The wonderful score was beautifully handled. Russell Bennett's fabulously coloured orchestration came over very well although the gong was marginally too loud. It is all relative to the time it takes the listener's ear to reset. This was just too intrusive meaning some dialogue was not audible. Otherwise the balance was good and the orchestral interludes an extra delight. 

Conclusions:  This golden oldie was given a bright twenty-first century presentation which was well in keeping with the authors’ original intentions. It was pacy and dialogue was presented in a very real way.  The story was clearly told and there was plenty of light and shade amid the characters and scenes maintaining interest. The audience thoroughly enjoyed the evening and was sent home humming the familiar melodies.   The company raised their game and set the bar high which it now needs to replicate.

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