Vivian Beaumont Theater at Lincoln Center Theater
150 West 65th St. between Broadway & Amsterdam Ave.
Tuesday - Saturday through January 3, $97-$172
In December 1977, my parents took the whole family to Broadway to see a revival of Rodgers and Hammerstein’s The King and I, with Yul Brynner returning as King Mongkut of Siam and Constance Towers playing Anna Leonowens, a British schoolteacher hired by the royal leader to teach English and Western culture to his children as he tries to modernize his country, later known as Thailand. It was my introduction to the Broadway musical in person, not a bad way to begin. So it was with fond memories that I entered Lincoln Center’s Vivian Beaumont Theater recently to see this latest revival, and I’m happy to report that everything you’ve heard about it is correct; it’s a memorable experience from start to finish, a delightful staging loaded with charm and elegance. Based on Margaret Landon’s 1944 novel, Anna and the King of Siam, a fictionalized version of actual events, the musical gets under way with a lovely overture; the small orchestra, under the direction of Ted Sperling, is in the pit, visible below long wooden slats stretching out in front of the stage. But at the end of the fanfare, the stage floor extends over the musicians, the curtain opens, and a nearly impossibly large, spectacular ship approaches the audience, carrying Anna (six-time Tony nominee Kelli O’Hara) and her young son, Louis (Jake Lucas), as they pull into Bangkok. Captain Orton (Murphy Guyer) warns Anna not to anger Kralahome (Paul Nakauchi), the king’s prime minister, but the widow immediately shows that she is not afraid of anything, speaking her mind when she learns that she and Louis will be staying at the palace instead of the separate house she was promised. And upon meeting the king (Ken Watanabe), who has a vast number of wives and children, she quickly demonstrates that she is a strong, fearless woman, not about to tolerate treatment as a second-class citizen. In addition to giving lessons to the kids, including the crown prince, Chulalongkorn (Jon Viktor Corpuz), Anna is soon teaching the king a thing or two as well as he seeks to make tiny Siam a major player in the modern world. Meanwhile, the newest member of his harem, Tuptim (Ashley Park), a gift from the king of Burma, is secretly in love with Lun Tha (Conrad Ricamora), a clandestine romance that could get them both killed.
Director Bartlett Sher, who helmed Lincoln Center’s celebrated 2008 production of South Pacific — which earned seven Tonys, including Best Director of a Musical and Best Revival of a Musical, as well as a nomination for O’Hara’s featured performance as Nellie Forbush — has done another sparkling job with The King and I, inviting the audience to bask in the glow of Richard Rodgers’s glorious music and Oscar Hammerstein III’s exquisite book and lyrics. Once the ship departs, Michael Yeargan’s sets are much more spare yet graceful, allowing Catherine Zuber’s sumptuous costumes to shine. The songs are, well, as wonderful as ever, from “I Whistle a Happy Tune,” “Hello, Young Lovers,” and “Shall We Dance?” to “Getting to Know You,” “A Puzzlement,” and, natch, “Something Wonderful.” “The March of Siamese Children,” in which the king’s progeny from his favorite wives bow to him, one at a time, then greet Anna, as their mothers watch closely, hoping their children don’t do anything to hurt their status, is particularly effective, not only in its stellar execution but in displaying the old-fashioned ways of the king, which he must overcome if Siam is to thrive internationally. The issue of slavery is raised quite specifically in the second-act ballet “The Small House of Uncle Thomas,” a special presentation, based on Harriet Beecher Stowe’s Uncle Tom’s Cabin, for an important British diplomat (Edward Baker-Duly) who is interested in Anna. The show manages to sidestep issues of colonialism and ethnocentricity as Anna criticizes many of Siam’s traditions and her relationship with the king grows more intimate.
O’Hara (The Light in the Piazza, Nice Work If You Can Get It) is enchanting as Anna, a role previously played by the likes of Celeste Holm, Hayley Mills, Faith Prince, Maureen McGovern, and Marie Osmond, giving her a fierce, determined edge while letting her vocal cords soar. (Irene Dunne played Anna in John Cromwell’s 1946 film, Anna and the King of Siam, which also starred Rex Harrison as the king and Lee J. Cobb as Kralahome.) Watanabe (Letters from Iwo Jima, Inception) is a certifiable triumph in a role that might be associated with one actor more than any other role — Brynner played the part more than 4,600 times onstage over the course of thirty-four years, winning two Tonys, while also earning an Oscar for the 1956 film and starring in the 1972 television series Anna and the King with Samantha Eggar. Bare-chested and with a shaven head, Watanabe is utterly engaging as the king, his choppy English adding a nice touch to his depiction of the complex ruler, whether declaring that life is a puzzlement, gleefully exclaiming, “Et cetera, et cetera, et cetera,” or sweeping across the floor with Anna. (Just for the record, among the other actors who have portrayed the king in various incarnations, both musical and not, are Farley Granger, Lou Diamond Phillips, Zachary Scott, Herbert Lom, Darren McGavin, and Rudolf Nureyev.) Christopher Gattelli’s choreography, based on Jerome Robbins’s original, keeps things flowing beautifully, accompanying Robert Russell Bennett’s lush orchestrations. The original production won all five of the Tony Awards it was nominated for back in 1952 — Brynner as Best Featured Actor, Gertrude Lawrence for Best Leading Actress as Anna, Best Costume Design, Best Scenic Design, and Best Musical — while the revival I saw as a kid earned Drama Desk nominations for Brynner, Angela Lansbury as Anna, and Outstanding Musical. Lincoln Center’s revival is another runaway hit, garnering nine Tony nominations and two Drama Desk nods. It’s an absolute treat getting to know The King and I all over again.