Classic Treatment for "The King and I"

"The King and I"

Music by Richard Rodgers; book and lyrics by Oscar Hammerstein II; based on Anna and the King of Siam by Margaret Landon; direction by Robert J. Eagle; Jerome Robbins' original choreography recreated by Gemze de Lappe; vocal coach, Paul S. Katz; musical direction by Paul S. Katz and Jeffrey P. Leonard; conductor, Jeffrey P.Leonard; scenic design by Richard E. Schreiber, adapted and painted by Matt Rudman; lighting design by David Wilson; costumes provided by Costume World Theatrical

Featured cast in order of appearance:

Captain Orton, Ron Brinn
Louis Leonowens, Alec McHugh
Anna Leonowens, Sarah Pfisterer
The Interpreter, Darvin Hernandez
The Kralahome, Scott Kitajima
The King, David Scannell
Phra Alack, Jean-Alfred Chavier
Tuptim, Yuki Sugita
Lady Thiang, Lydia Gaston
Prince Chulalongkorn, Jonathan Wan
Lun Tha, Marcus Calderon
Sir Edward Ramsey, R. Glen Michell

The Small House of Uncle Thomas dancers:

Eliza, Michiko Takemasa
Angel George, Yuki Ozeki
Simon of Legree, Elena Zahlamann
Little Eva, Shanna Heverly
Topsy, Rachel Bertone
Uncle Thomas, Rachel Goldberg

Performances: Now through July 21 at the Reagle Players, Robinson Theatre, Waltham High School, 617 Lexington Street, Waltham, Mass.
Box Office: 781-891-5600 or www.reagleplayers.com

In an era of jukebox musicals, revisionist revivals, and cynical Broadway self-parodies, how refreshing to see the Oscar and Hammerstein classic "The King and I" staged with simple elegance and understated beauty. The unadulterated production currently being presented by the Reagle Players of Waltham, Massachusetts lets the brilliance of this 1952 masterpiece shine through in all its glory. The well worn turn of phrase, "They don't make 'em like they used to," most definitely applies to this American musical theater treasure.

The melding of words and music by Richard Rodgers and Oscar Hammerstein II is sheer perfection in this tale of a Siamese king's reluctant adaptation to the influences of British imperialism during the height of  Western colonization of Southeast Asia in 1862. Intertwining the music, dance and cultural idiosyncrasies of two very different economic and political forces, "The King and I" holds a mirror up to the strengths and weaknesses of two powerful yet imperfect civilizations while illustrating how each can learn valuable lessons from the other.

Worlds collide socially and romantically when the King of Siam, in an effort to prove to his country's critics that he is not a barbarian, hires Anna Leonowens, a young British widow living in Singapore, to tutor his many wives and children in the finer wisdoms and ways of the West. What he doesn't bargain for is Anna's forthright independence and rebellion against his patriarchal policies and attitudes toward women and other "subservients." As Anna influences his court – and the king himself – in ways he had never anticipated, they develop a deep respect, admiration, and unspoken love for one another that eventually weakens both of their defenses and resolves.

The magnificent score establishes Anna's pluck right from the start as she chases both her son's and her own fears away with "I Whistle a Happy Tune." Once she arrives at the palace, she is immediately immersed in royal protocol, being introduced to her many adorable charges in the "March of the Siamese Children." Here the rich full orchestra establishes a sense of grandeur and pageantry while each child precisely executes a respectful bow to the obviously proud papa and king. Kudos to choreographer Gemze de Lappe and cast children's coordinator Angela Richardson for wrangling so many youngsters into an "aw" inspiring ensemble.

Another ensemble takes center stage in Act II with the brilliant "Small House of Uncle Thomas" ballet. Recreating Jerome Robbins' original choreography, the dance troupe, along with the concubine Tuptim's narration and the orchestra's use of traditional Asian instruments, brings to life the exquisitely adapted tale of "Uncle Tom's Cabin" which draws poignant parallels between the slavery of Harriet Beecher Stowe's America and the oppressive servitude of the dictatorial king's Siam. The stunning costumes and vibrant Eastern folk dance movements make the overall effect completely captivating.

While the book and score of "The King and I" make the show itself the star in any production, the talent in this Reagle Players cast is deep and wide. As the feisty and compassionate Anna, Sarah Pfisterer is the consummate musical theater heroine. She's charming, strong, funny, and poised, and her voice is a warm, rich soprano that is full and powerful even at the top of her range. Her "Hello Young Lovers" is romantic and wistful when she sings of her late husband to the king's wives in the first act, and its reprise toward the end of the second act becomes plaintive and tragic following the ill-fated love affair of Tuptim and Lun Tha. Her "Shall I Tell You What I Think of You?" soliloquy delivered in her bedroom after a particularly frustrating encounter with the king is a tour de force. Her eyes flash and her voice sparkles. The number solidifies Pfisterer's performance as a star turn.

As the king's number one wife, Lady Thiang, Lydia Gaston possesses all of the quiet strength and devotion one would expect from someone placed in such a position of honor and distinction. Her solo, "Something Wonderful," is a beautifully rendered plea to convince Anna to see the goodness inside her husband's trenchant king. Yuki Sugita as Tuptim is equally effective in showing the layers of determination beneath the obedient smile. Her rendition of "My Lord and Master" is at once empowering and heartbreaking, and her duets "We Kiss in a Shadow" and "I Have Dreamed" with Marcus Calderon as Lun Tha are achingly romantic and soaring.

The one slightly wobbly performance comes from David Scannell as the King. In his scenes with Pfisterer's Anna, he is everything you'd want him to be – charming with a boyish sense of humor and bravado that quickly erupt into anger when his authority and patience have been tested. His comic timing is very entertaining, and his frustration tempered by affection for Anna is tantalizing. During his more introspective solo, "A Puzzlement," however, he is less sure. He substitutes Yul Brynner-like posturing for true character development, and when he should be revealing a measure of vulnerability at his uncertainty in the face of global changes affecting him and his country, he mugs and goes for a shallow laugh instead. His vocalizations are also weak. At times he misses the notes he's aiming for, even when speak-singing, and when not singing his accent often renders his dialog unintelligible.

These minor glitches are all forgiven, though, when it comes time for one of the most romantic moments in musical theater, the climactic, resonating waltz, "Shall We Dance?" Here Pfisterer and Scannell build the number from simple dance instruction to tentative sexual connection to outright joy. Their exuberance makes the shift to drama that much more gripping when word of Tuptim's escape and ensuing capture shatter their shared pleasure.

Shows of such sweep and splendor are rare on Broadway these days. Thankfully we are still able to enjoy the majesty of Rodgers and Hammerstein and shows like "The King and I" compliments of regional theater companies like the Reagle Players.

The company concludes its 2007 summer season with "42^nd Street" August 9-18. You've got to love those lullabies of old Broadway.

PHOTOS

The Small House of Uncle Thomas ballet
The royal princesses and princes
David Scannell and Sarah Pfisterer as the King and Anna

 

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