The King and I

The magic of Rodgers and Hammerstein’s The King and I is in evidence everywhere in Savoyards new production of their timeless classic, thanks to the strong casting of the principal roles and by the use of the original script and score. Songs and sequences which are normally cut in modern productions, mainly because of their political incorrectness, as presented here make for a greater depth and understanding of Rodgers and Hammerstein’s original intent; the second-act opening “Western People Funny” with the King’s Asian wives dressed incongruously in 1860-style Western hoop-skirts, an important reprise of “A Puzzlement” by Prince Chulalongkorn and Louis (not credited in program), the full version of Anna’s “Shall I Tell You What I Think Of You” soliloquy, and the exquisite waltz Rodgers wrote for Anna’s dance with Sir Edward Ramsay in the second-act. All of these simply add to the lustre of the score.

The strength of Johanna Toia’s production is the dynamic acting of Miranda Selwood as Anna and Reindert Toia as The King. Selwood gave Anna a cultured maturity, sang her songs sweetly, and parried the King’s declarations with charm and steely determination. Toia’s King was ruthless, autocratic, demanding and ultimately persuasive as a man trying his utmost to be progressive. Together they brought heart and joyous emotion to the production. The audience were in tears during the iconic polka around the palace in “Shall We Dance,” and at the finale in the death-bed scene.

Vanessa Wainwright sang a lovely “Something Wonderful”, Dani Heraud’s “My Lord and Master” was affecting, but last minute replacement Mike Zarate was vocally out of his depth as Lun Tha. Oliver Cameron and first-timer Anthony Diakos-Masters impressed as Prince Chulaongkorn and Louis, whilst Michael Furtado was an imperious Kralahome.

Carlie McEachern’s Eastern-exotic choreography was at its best in “The Small House of Uncle Thomas” ballet, and audience favourite “The March of the Siamese Children”. A first act sluggishness gave way to a livelier second, and although the orchestra played well the production would have benefited by the repeat of some scene-change music to cover the longueurs.

Still, the charm of this East-meets-West musical-classic overflowed in Savoyards faithful production.

Peter Pinne