In the aftermath of the coronation of King Charles III it seemed somehow appropriate to see this famous musical about an altogether different type of monarch.
Rodgers and Hammerstein’s hit musical was written in 1951 and was based on Margaret Landon’s novel, Anna and the King of Siam, which in turn is based on the memoirs of Anna Leonowens, governess to the children of King Mongkut of Siam in the early 1860s.
Most people will know the 1956 film starring Deborah Kerr and Yul Brynner, but this production was better than the film. It was full of fun, at turns amusing, emotional, lively and at its very heart lavishly entertaining.
Underneath its effervescent charm lie a number of issues that are bound to emerge in a cross-cultural musical, especially in this day and age. Anna’s attempt to liberalise an authoritarian monarch is bound to cause conflict and the clash of East and West, even if this is only seen through surface issues such as clothes and manners, is emphasised in a compelling and lively fashion.
Annalene Beechey, as Anna, was exquisite and she had all the steel and stately grace the part demanded. Her lush, rich voice was simply wonderful as she sang the famous songs Whistle a Happy Tune, Getting to Know You, and Shall We Dance. She was the epitome of charm, overflowing with beauty and charisma, positively lighting up the stage. It is not often you see a performer with so much magnetism and star quality.
It is interesting that in the 1860s women did not have any rights at all yet here, in Anna, we have a strong, assertive female full of common sense and intelligence who is willing to stand up to a King.
The chemistry she had with the King, Darren Lee, was delightful and he had a wonderful sense of timing and control. He brought out the impish charm of this man who on the outside was a tyrant but ultimately was someone who wanted to learn and grow. He had a muscular, rugged voice befitting a monarch and he moved really well. You felt the love and admiration slowly building between Anna and this potentate.
Cezarah Bonner, as Lady Thiang, the King’s head wife, was stylish, elegant and refined. She had wonderful poise bringing out the character’s independence, but you felt the love she had for the King and for Anna.
Tuptim, a woman given to the King by the King of Burma, was played by Marienella Phillips with passion and intensity. Her duets with Lun Tha, played by Dean John-Wilson, were sublime and majestically performed.
Catherine Zuber’s costumes were as opulent and extravagant as you would expect from such a lavish production.
It was directed with pin-point precision by Bartlett Sher. His sense of movement and action was outstanding and everything moved on at quite a pace. There was tremendous attention to detail which led to a perfect production. All the set pieces were admirably staged, and I thought the play within a play section in Act Two was exceptional.
At the end the audience rose as one to give this astonishing production a well-deserved standing ovation. It was a marvellous night, and I left the theatre whistling a happy tune!
It continues at the Palace Theatre Manchester until the 13th May and then continues its tour around the UK. For more information go to – https://kingandimusical.co.uk/uk-tour-dates/.
Reviewer: Adam Williams
Reviewed: 9th May 2023
North West End UK Rating:
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