Few American musicals retain their ability to enchant over the years, and even fewer of these "classics" actually improve with age. Since I wasn't born in 1951, when The King and I first took Broadway by storm, I cannot compare the original's impact to the current production now touring the United States. I can only marvel at how well The King and I has survived over the years. Yes, some of the references to Asians do seem uncomfortably condescending in 2000, but this is a minor quibble for a show that has such an impeccable pedigree one cannot imagine any reference to musical theater history with including it.
Indeed, one suspects that the current The King and I features many more Asian actors, thanks in no small part to the worldwide popularity of Miss Saigon. The King and I retains its power to transport the audience to a strange and wondrous world, the royal palace in Bangkok. The musical is set in the 1860s, a time when culture and technology are rapidly changing. People sense the shifting sands beneath their feet, and they seem powerless to exert control over their lives. "It's a puzzlement!," exclaims the King of Siam in exasperation.
In the opening scene, another character is faced with this dilemma and sings, "I Whistle a Happy Tune (so no one will know I'm afraid)." This advice comes from Anna, the prim English teacher who has arrived in Siam to teach the royal children. The King and Anna share much more than confusion, but it bonds them as an unlikely pair in a chaotic world. Music has always been this show's strong point, and thankfully, the cast excels in this respect.
The hit parade of show-stopping numbers includes "Getting to Know You," "Something Wonderful," "We Kiss in a Shadow" and "Shall We Dance." This last number is, as usual, a highlight of the second act. Finally, Anna and the King can be joyful together. They laugh, sing and waltz up a storm -- as her gown billows majestically with each spin. Aside from their excellent voices, Anna (Jill Van Velzer) and the King (Lego Louis) fail to create the sparks one hopes to see in this couple. Anna is demure, charming and marvelously controlled, while the King fails to create much of an identity. (He's no Yul Brynner, by a longshot.)
Supporting cast members tend to be weak dramatically, despite strong voices. Their voices couldn't always be heard over the orchestra, which is a typical opening-night glitch for touring shows. However, this production has many things in its favor. It benefits from a rich, sumptuous set that creates an otherworldly flavor. The set's vibrant tones of ruby, emerald and burnished gold are enhanced by the gorgeous costumes. They are Broadway caliber in every respect, especially the glittering finery worn for the show-within-a-show: a variation of "Uncle Tom's Cabin." The choreography reaches a peak in this extended number, perfectly uniting elements of eastern and western culture. The tiny Siamese children are, of course, adorable.
Beautiful music, sets, costumes and kids -- the show has (almost) everything going for it.
