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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
Directed by William Osetek
Jerome Robins’ choreography recreated by
Rachel Rockwell
At the Drury Lane Oakbrook Theatre
Oakbrook Terrace, IL
Call 630-599-1212, Tickets $22 to $44.25
Wednesdays at 1:30 PM
Thursdays at 1:30 & 8 PM
Fridays at 8:30 PM,
Saturdays at & 8:30 PM,
Sundays at 2:30 & 7 PM
Running time 2 hours & 50 minutes with Intermission
Through March 4, 2007
The King and I soars with fine vocals
With opulent sets (by John Stark) filled with gold and red in an elegant oriental motif, The King and I recreates the splendor of 1860’s Bangkok with break taking visuals, rich in color and texture giving the show the atmosphere befitting Siamese royalty. With splendidly vivid period perfect costumes (by Nancy Missimi), The King and I creates an aura that catapults us into the ancient world of Siam just as the British look to dominate it.
Rodgers and Hammerstein’s first production based on a true story opened on Broadway in March, 1951 with Gertrude Lawrence and Yul Brynner, racked up 1,246 performances in the initial run and Brynner did 4,625 performances over 34 years as the King plus the 1956 movie with Deborah Kerr. Full of timeless songs like “I Whistle a Happy Tune,” “Hello, Young Lovers,” “Getting to Know You” and “Shall We Dance,” The King and I is a Broadway classic that is the ultimate “feel good” show considered as the first true ‘theatre spectacle,’ The King and I opened the door for later scenically opulent shows.
But it’s the score full of happy songs, haunting ballads, tender love songs and the inspiring polka (“Shall We Dance) with triumphant marches rich in Oriental flavor that make Rodgers & Hammerstein’s score most memorable. The timeless love story between a powerful and stubborn King (Joseph Foronda) and a determined Welsh governess (Mary Ernster), named Anna, is a tale of culture clashes in which each is fascinated by other’s traditions where honor and forgiveness and love abound. The conflict between Eastern and Western cultures inspired the lush score. The story has hints of British colonial biases.
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Mary Ernster was polished, charming and delightful as Anna—she landed her songs nicely and had the proper combination of humor, warmth and determination to be an effective Anna. Joseph Foronda was yeoman work as the King with the pronounced swagger of royalty, a domineering persona hiding a kind heart. His number, “A Puzzlement” reveals his inquisitive mind while he slowly learns to admire (even love) Anna. Foronda’s chemistry with Ernster works nicely in act two culminating with the romantic “Shall We Dance” number that has become a special ‘Broadway moment.’ Youngsters Mitch Hollis as Louis and Michael Notardonato as the Prince were engaging with fine stage presence.
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The large cast featuring many outstanding Asian performers and talented children. Emily Morales’s strong voice land “My Lord and Master” and the duet with Richard Morales (Lun Tha) “We Kiss In a Shadow” was beautifully romantic. The marvelous, visual stimulating ballet “The Small House of Uncle Thomas” was a recreation of the original Jerome Robins’ choreography (by Rachel Rockwell) was stylish—a mixture of quaint movement and Kabuki elements featuring elaborate costumes complete with headdress telling the slave story through narrative and dance (and lighting) to paint a memorable theatrical experience.
The King and I has everything a classic Broadway musical must have: a memorable score---spectacular lighting, sets and costumes---terrific cast with strong leads and excellent supporting players---talented dancers---and---a splendid orchestra. Rodgers and Hammerstein would enjoy this production---I know I did. This show is one of my favorite all-time musicals (it is #22 on my list).
Recommended
Tom Williams
Tom99@chicagocritic.com
Talk Theatre in Chicago podcast
Date Reviewed: January 4, 2007
Jeff Recommended
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