The King and I is no stranger to the Broadway stage. The original 1951 version and revivals in 1996 and 2015 all won Tony Awards and earned enviable box office receipts. Now, the national tour of the 2015 version comes to Milwaukee’s Marcus Center for the Performing Arts. One wishes that the Broadway actors had come with it. As most everyone knows, this is the tale of an English widow, Anna Leonowens, who comes to Siam with her your son Louis to tutor the many wives and children of the progressive King. The musical is set in the 1860s, a time when English women wore hoopskirts and dresses with cinched waists, and a Siamese King could rule without interference. Unfortunately, the King is not as progressive as Anna would wish, particularly in his opinion of women. In scene after scene, Anna must stand her ground against the willful and self-satisfied King. Squabbles arise, of course, but so does the level of respect as they begin to see the other’s perspective. This is most beautifully detailed in an exchange where the King must fight a wave of English colonialism. Anna understands that her plan to rid the King of his title as a “barbarian” must be carefully laid out so that the King believes the ideas are his own. Neither party is fooled by this thinly veiled disguise, but it is a collaboration that seals their destinies. Eventually, their plan leads to a breathtaking Siamese version of Harriet Beecher Stowe’s “Uncle Tom’s Cabin,” which is presented for a group of English emissaries. This is one of the show’s highlights. It is important to note the importance of the script in a musical known mostly for its songs, which include: “Getting to Know You,” “I Whistle a Happy Tune,” “Hello, Young Lovers,” “Something Wonderful” and “Shall We Dance?” The songs are delivered with ease and are accompanied by an accomplished orchestra. However, what apparently delighted critics and audiences in the New York 2015 version is clearly absent here. Neither Pedro Ka”awaloa or Angela Baumgardner (as the King and Anna) are up to the task. They have nice voices but cannot do justice to the cultural clash between these two strong-willed individuals. Ka’awaloa, in particular, lacks the omnipotent aura of the King. More importantly, the couple fails to create even a spark of sexual tension, even in their climactic “Shall We Dance?” They go through their paces, however, and the number can’t help but lift one’s spirits as they waltz through the grand palace’s hallways. The King’s bare legs and Anna’s voluminous skirts are undeniably fascinating to watch, sexual tension or no. Other characters fare somewhat better. Leading the supporting cast is Deanna Choi as Lady Thiang, the King’s first wife, and her son, Prince Chulalongkorn (Timothy Matthew Flores). The cast’s standout performer is Paulina Yeung as Tuptim, one of the young lovers (along with Brandon Shan Chu as Lun Tha). They portray a genuinely loving couple, fanning their secret romance in “We Kiss in a Shadow.”
Staging is among the best elements of this show, involving many royal wives, children, guards and townspeople. Everyone shows a distinct personality, and the large ensemble numbers flow seamlessly under the direction of Shelley Butler.
