The King and I
Some shows date quickly, and revivals serve to point out their shortcomings. Others simply grow better with age, their magic beguiling generation after generation. The King and I is the epitome of the latter. This exquisitely mounted show may well be the best musical you ever see, and I really do mean EVER. Apart from the glorious music and lyrics; an intelligent and literate book, and the timeless love story at its heart, this recreation of John Frost’s Tony award winning 90s production boasts re-creations of Brian Thomson’s fabulous set and Roger Kirk’s jaw-dropping costumes. Susan Kikuchi reworks Jerome Robbins’ original choreography and actually seems to improve upon it; no mean feat (The Small House of Uncle Tom Ballet was a triumph). Nigel Levings’ lighting design is perfect; Michael Waters’ sound is excellent throughout and the wonderful Peter Casey wrings sustained excellence from the superb orchestra. Pulled together once more by the great director Christopher Renshaw, it’s impossible to fault any element, except perhaps for noting that more individuality in the ensemble characters might have been a bonus.
And then there is the cast itself. Lisa McCune is so good it is hard to find the right adjectives. Refined and ladylike beyond even Deborah Kerr, she sings the role exquisitely; but it’s in the acting that she blows us all away. Undoubtedly one of our finest screen actresses, she brings to Mrs Anna a wistful romanticism that is constantly at loggerheads with her own commitment to women’s rights. This is not a woman who needs a man to support her, but a woman who wants to give her love to those who return it. She is astonishingly moving, and the audience was already shedding tears by the time she reached her reprise of “Hello Young Lovers”. She has so much depth in this performance that if anyone doubted she is now our first lady of musical theatre, those doubts are now put to bed.
Jason Scott Lee’s King is mesmerising. Every other actor in the role, including the iconic Yul Brynner, fades into oblivion within ten minutes of Mr Lee hitting the stage. He commands, he endears, he amuses, he convinces us so completely that he IS Siamese (rather than Chinese/Hawaiian)…accent, demeanour, a childlike giggle, twinkling eyes, proud yet vulnerable…that you forget entirely that you are watching a performance. It takes a while for his chemistry with Mrs Anna to evolve, but that’s what the book demands. His strength and power in the punishment of Tuptim scene is an indication of the power of the actor himself in making every facet of the king real. It’s impossible to take your eyes off him.
Shu-Cheen Yu is superb as Lady Thiang. “Something Wonderful” is arguably Rodgers and Hammerstein’s greatest love song, and her rendition is something to remember forever. Adrian Li Donni is the perfect Lun Tha, one half of the star-crossed lovers. His voice has strengthened over the past few years and was particularly beautiful in I have dreamed. Jenny Liu is a beautiful Tuptim with a strong soprano voice, though she had pitch problems in her top register….undoubtedly first night nerves. Marty Rhone added his charismatic presence to a role not worthy of him, and John Adams was excellent as both the captain and Sir Edward. Beau Woodbridge was sweet, if insipid, as Anna’s son Louis, and young David Tan was impressive as the Crown Prince. The Siamese children were simply adorable and totally professional, and the ensemble was full of the vocal and dancing strength we expect in Australian productions.
If you take your children to see The King and I they will indeed experience “Something Wonderful” – and chances are they will become lovers of Musical Theatre for life… it’s a very special experience.
Coral Drouyn
Photographer: Oliver Toth.
More Reading.
Coral Drouyn interviews Jason Scott Lee
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