‘The King and I’ livens up Saenger Theater
By DEAN M. SHAPIRO, Special to the CCJN
In the mid-1800s, when the then-superpowers of Great Britain and France were amassing their vast overseas empires and hungrily swallowing up the smaller enclaves of Southeast Asia, only one of those nations managed to maintain its independence: the Kingdom of Siam.
Laura Michelle Kelly and Jose Llana star in “The King and I” now playing at the Saenger Theater. (Photo by Matthew Murphy)
It was largely by adapting itself to Western ways that Siam, ruled by King Mongkut from 1851 to 1868, was able to keep its autonomy as it gradually morphed into the present-day parliamentary democracy now known as Thailand. In order to learn more about Western ways and incorporate some of them into his kingdom’s culture, Mongkut hired a British teacher to educate some of his 82 children for the final six years of his reign.
The story of that teacher, Anna Leonowens, and her often-contentious but mutually respectful relationship with Mongkut, was told in a 1944 book that was adapted into two movies and an award-winning Broadway musical which its creators titled The King and I.
Jose Llana stars as King Mongkut in “The King and I.” (Photo by Matthew Murphy)
The 1951 Rodgers and Hammerstein musical, replete with all of the musical and ornate splendor of the Bangkok Royal Palace, arrived at the Saenger Theatre as the season’s second offering in the Broadway in New Orleans series on Tuesday evening. The show will run through Sunday, November 19.
From the opening scene of a passenger ship arriving in the port of Bangkok through the final farewell, with only a few technical speed bumps along the way, the overall production is a colorful feast for the eyes and ears.
The chemistry between the King (Jose Llana) and Anna (Laura Michelle Kelly) is not exactly what one could call “compatible” throughout most of the production. In fact, it could be better termed a “culture clash.” Western values butt up against Eastern customs nearly every step of the way, and it is that very interplay between the two principals that keeps the progression moving forward full steam. Each of them, being set in their ways, stubbornly insist on having certain things their way, but they also know when they have to concede on a particular protocol and let the other one have his or her way. And, in typical Broadway fashion, there is an eventual meeting of the minds at the end, bringing the conflict to a mutually amicable conclusion.
Comparisons in formula to some of R&H’s later works, especially The Sound of Music, can’t be avoided.
Laura Michelle Kelly arrives in Siam on a ship early in the show. (Photo by Matthew Murphy)
Llana brings outstanding depth and conviction to his character’s persona, being every bit as regal, dignified and convincing as the role demands. He insists that no one, including Anna, raise their head above his when they are not standing up, and the interplay between them as this ritual is played out makes for some of the production’s funniest moments. He’s the boss and he wants to make sure she and everyone else knows it. And he vehemently resents being called “barbaric” by those fully clothed Western nations that would seek to turn his bare-chested rule into one of subservience to their own ruling despots.
Kelly’s personification of the dignified and semi-liberated Englishwoman is equally convincing and endearing to the audience. Her stubborn insistence on doing the job she was hired to do her own way is anathema to the King’s frame of reference, but it somehow commands his grudging acceptance and respect. And though there never was – in the play, the movie or in real life – any romantic involvement between them, when they finally come together in their famous dance number (“Shall We Dance”), all barriers between them have been broken down and the audience cheers.
Also excelling in their roles are Joan Almedilla as the officious, stiff and formal Lady Thiang; Brian Rivera as Kralahome, the King’s boisterous but obsequious prime minister; Anthony Chan as Prince Chulalongkorn, the stand-offish and surly Crown Prince; and Patrick Boll as Captain Orton who brings Anna and her young son Louis (Ryan Stout) to Siam with warnings about what they can expect, and then later reappears as the British ambassador, Sir Edward Ramsey, who loves Anna in vain.
Manna Nichols and Kavn Panmeechao in “The King and I.” (Photo by Matthew Murphy)
Hatching up the subplot with romantic tenderness are the young lovers, Tuptim (Q Lim), a slave girl sent by the king of Burma to the Siamese King’s court as a pawn in a game of royal diplomacy, and her true love interest, Lun Tha (Kavin Panmeechao). Their continually thwarted efforts to enjoy their brief, clandestine trysts result in sweet renderings of two of the production’s signature musical pieces, “We Kiss in a Shadow” and “I Have Dreamed.”
The 36-member cast includes eight Royal Children, among whom the very young Keira Belle Young stood out for cuteness and lovability as Princess YingYaowalak. Also on stage were numerous ensemble members, colorfully attired as Royal Wives (of which the real Mongkut had 39), townspeople, Buddhist monks and palace guards.
The Act II ballet production of “Uncle Tom’s Cabin” (billed as “The Small House of Uncle Thomas”) was skillfully and creatively choreographed by Christopher Gattelli from the original work by Jerome Robbins, but it did, at times, drag out the action a little too much.
The orchestral accompaniment of mostly New Orleans musicians – several of whom are members of the Louisiana Philharmonic – were spot-on during the production numbers, thanks to the skilled baton wielding of Maestro Gerald Steichen. Our “locals” represented the New Orleans cultural talent base very well to this national touring company and we can be proud of them.
All of the other key production elements – the sets, lighting, sound, costumes, props, wigs and hair design were well-crafted and in keeping with the period in which the story took place. Thankfully there was nothing in any of these components that would have appeared anachronistic or out of place, unlike many contemporary musical adaptations (including opera) that seem to take a perverse pleasure in mixing milieus.
And, of course at the end, everyone, including the audience, is “whistling a happy tune.”
Remaining performances of “The King and I” run tonight through Sun., Nov. 19 with showtimes at 7:30 tonight, 8:00 p.m. on Fri. and Sat., and 6:30 p.m. on Sun. Two matinees can be seen at 2:00 p.m. on Saturday and 1:00 p.m. on Sun. The Saenger Theatre is located at 1111 Canal Street between Basin and North Rampart streets. For tickets and information call (504) 287-0351 or Ticketmaster at 1-800-745-3000.
