PicksInSix Review: THE KING AND I Drury Lane Theatre
RICH VOICES, PAGEANTRY CROWN DRURY’S “KING”
PicksInSix® Review | Ed Tracy
Well along in the sprawling, crisply paced production of Rodgers & Hammerstein’s “The King and I” that opened Thursday at Drury Lane Theatre, Anna (Betsy Morgan) and the King (Adam Jacobs) appear to be on the verge of consummating an epic love story. Everything before has led to this joyous climax with the bristled, yet vulnerable, King fatefully enraptured by Anna’s intelligence, irresistible charm and strength of will. The celebratory feeling in “Shall We Dance?” stands among one of the most fulfilling moments in all of Rodgers & Hammerstein musicals.
It is the pageantry that has come before, and how vitally important the moment is to what follows, that makes Alan Paul’s expertly directed “The King and I” shine. Swept up in 1860s Siam, the story of Anna Leonowens’s true-to-life experiences unfold over the course of a year in the King’s palace. First told in Margaret Landon’s “Anna and the King of Siam,” it became a film starring Rex Harrison, prior to the 1951 Broadway musical debut with Gertrude Lawrence and the robust Yul Brynner. In the style of Robert Preston and Zero Mostel, Brynner went on to become inextricably associated with the role he created. That kind of legacy, and a career that included over 4,600 stage performances and an award-winning film version, is a daunting benchmark whenever this show is revived.
In the role of King, Jacobs has a commanding presence on stage and comes with a resume that includes an origin story of its own as Broadway’s first “Aladdin.” Striking a delicate, and yet defiant, balance with a finely tuned sensibility for the complex role, Jacobs skillfully navigates between the autocratic ruler, who insists that everyone around him obey, and the inquisitive man, who is equal parts father figure and all-knowing philosopher. For good measure, he adds a stellar voice and a believable heap of wonder and frightful insecurity in the face of opposition.
That opposition comes mostly in the form of the alluring Morgan, a quintessential star-turn for the actor whose lofty abilities are on full and magnificent display. As Anna, Morgan plays a widowed governess with high ideals for civility and the advancement of human rights. After charming the adorable royal children and their mothers, it is just a matter of time before Anna is able to melt the calloused exterior of the King that leads to that wonderful, fleeting moment when we feel the exuberance of two people in love. Along the way, Morgan revels within the iconic score singing the memorable “I Whistle a Happy Tune” and “Getting to Know You,” the declarative and comic “Shall I Tell You What I Think of You?” and the beautifully poignant “Hello Young Lovers.”
The other primary love story involves Tuptim (Paulina Yeung) and the scholar Lun Tha (Ethan Le Phong) who, early on, presents her as a gift from Bruma to the King. Their soaring love ballad “We Kiss in the Shadow” is a highlight. When Lady Thiang (Christine Bunuan) discovers the relationship, she warns the young lovers of the dire consequences should the King find out. Bunuan is brilliant in the supporting role, delivering “Something Wonderful” and the lighter “Western People Funny” with poise and power. Fine featured performances abound in the cast and talented ensemble, including Karmann Bajuyo as Kralahome, Matthew Uzarraga’s Prince Chulalongkorn and Braden Crothers, who splits the role of Louis Leonowens with Nolan Maddox.
There is so much more about this exceptional production from the superb work of music director/conductor by Tim Laciano, scenic design by Wilson Chin and Riw Rakkulchon, dynamic choreography by Darren Lee, especially “The Small House of Uncle Thomas” ballet featuring Kristine Bendul, to the cavalcade of stunning Izumi Inaba costumes based on Catherine Zuber’s original designs, which just have to be seen to be believed.
PHOTO|Brett Beiner
DRURY LANE THEATRE
presents
RODGERS & HAMMERSTEIN’S
THE KING AND I
through May 22, 2022
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