By Christy Hudson
The National Broadway Tour of Rodgers and Hammerstein’s The King and I makes a stop at the Ellen Eccles Theatre and the people of Logan, Utah couldn’t be more thrilled. The musical is based on the novel Anna and the King of Siam by Margaret Landon. This production, presented by CacheARTS, is based on the Lincoln Center Theater Production from 2015-2016, starring Kelli O’Hara and Ken Watanabe.
In 1962, Anna Leonowens and her son Louis move to Siam because she has been hired to be a tutor for the King of Siam’s children. Anna and the King spend a lot of time trying to understand each other and their different cultures. They grow closer together and become attracted to one another, but they are from two separate worlds. When people in the western world call the King barbaric, Anna steps in to help him show the sophistication of his country, its people, and their culture.
Angela Baumgardner stars as Anna Leonowens, and Pedro Ka’awaloa stars as the King of Siam. Both are wonderful actors and singers. Ka’awaloa’s energy in his role is so fun to watch, Baumgardner plays Anna so elegantly and sweetly. Together, they have believable chemistry, making their scenes impactful whether they’re dancing, bantering, or fighting.
Tuptim is played by Paulina Yeung, and it is not surprising to learn from her bio in the program that she is a professional opera singer. She has a breathtaking, crystal-clear soprano voice, and her first song, “My Lord and Master,” gives you goosebumps. Yeung breaks your heart as Tuptim, the slave girl who just wants to be with the man she loves.
Another standout actress is Deanna Choi, who played Lady Thiang. She also has an incredible voice, and with her strong stage presence, it is totally clear why she plays the chief wife of the King’s court.
The ensemble is full of skilled actors, singers, and dancers. They execute complex choreography perfectly; they really are unbelievably good. The group of children that play the King’s children and Anna’s pupils are adorable every time they do anything. The entire cast is put together well, and every member of it gives a strong performance.
Choreographer Christopher Gattelli created the choreography of the recent Broadway revival, and he based it on the original production in 1951, choreographed by Jerome Robbins. The dancing is absolutely gorgeous. “The Small House of Uncle Thomas” is a ballet in the second act, and all of the dancers are captivating and very talented. In the performance I attended, the lead dancer playing Eliza was understudy Akina Kitazawa, and she is incredibly graceful and beautiful to watch.
The magnificent costumes in this production are exactly like the ones from the Broadway revival. Costume Designer Catherine Zuber won a Tony Award for these costumes, which is understandable. Anna’s giant hoopskirts might seem ridiculous, except Baumgardner looks too elegant in them for that, and she moves so prestigiously that you would think she was from the time period where she has worn them her whole life. Completely opposite of her hoopskirt are the oriental costumes that the majority of the cast wears, and they are stunning; want to get a dress like that now. The detail on them is thorough and precise. They are silky and flow daintily and perfectly. They’re just remarkable.
As is the case in any high-end professional production, the set, lighting, and sound designs are pristine. Set Designer Michael Yeargan often uses the actors to move around the set pieces, but for a lot of them, that actually isn’t necessary. Four pillars are present in a lot of scenes, but they are moved around a lot. There is also a lot of impressive uses of curtains and scrims, and that’s not to mention the giant Buddha statue. Lighting Designer Donald Holder adds emphasis and tone to a lot of the scenes, particularly in the ballet, with sudden color changes and movement. Sound Designers Scott Lehrer and Alex Neumann mixed all of the effects together, blending them well. Occasionally, specific microphones weren’t loud enough to be heard clearly over the orchestra, but it was always fixed immediately.
Director Bartlett Sher won the Tony Award for Best Revival of a Musical for The King and I in 2015, and it is easy to see why. The production is exquisite, and the physical design is dazzling. Music Coordinator John Mezzio also created wonderful orchestrations for the tour, and everything onstage mixes with the music perfectly.
It’s surprising how much a musical made in the 1950s contains so many themes that are still relevant in the modern world. The King of Siam owns slaves, and they talk about the Civil War, which is happening in the United States simultaneously, with President Lincoln working to end slavery. Parallels can be drawn from their debate about slavery in that time period, to the current battle we are fighting against racism today. Anna also works hard to convince the King that men are not superior to women, but are equal. Feminism also remains a current topic prevalent in our society. A portrayal of cultural differences in The King and I also mimics the problem people have in understanding others’ cultures. Maybe it’s just me, but I feel that people in our day and age have a problem listening to people who have different opinions or beliefs than they do. In the musical, they try to understand each other because they want to learn and know. It’s difficult but necessary. That’s something I think some people need to be reminded of.
Rodger and Hammerstein’s The King and I, presented by CacheArts, is a professional production. The acting, singing, and choreography are high-quality, the live orchestra sounds fantastic, the effects are great, and the show is just impressive all around. Its music and story are beautiful. There were multiple occasions that I laughed out loud, and the rest of the audience did as well. It is just charming. I can’t think of a reason why anyone would want to miss it.
CacheArts Presents The National Broadway Tour of The King and I, music by Richard Rodgers, book and lyrics by Oscar Hammerstein II
The Ellen Eccles Theatre, 43 S Main St. Logan, UT, 84321
January 22-23, 2019, 7:30 PM
Tickets: $45-$65
Contact: 435-752-0026, tixsales@cachearts.org
Cache Valley Center for the Arts Facebook Page
The King and I Facebook Event
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