Annalene Beechey in THE KING AND I. Photo Credit: Johan Persson
While it is impossible to separate THE KING AND I from its past, this lavish musical still has the power to enchant a modern audience.
A staggering seventy-two years since its first performance, the classic musical THE KING AND I returns to the Palace Theatre in Manchester as part of its 2023 UK tour.
Based on the novel ANNA AND THE KING OF SIAM by Margaret Landon, which in turn is based on the true story of English schoolteacher Anna Leonowens and King Mongkut of Siam (now Thailand), this beloved musical spans the years of their affiliation in the 1860s after Anna is invited to Siam to teach the royal children and bring King Mongkut’s vision of a Siam with Western values to fruition in order to keep it from being colonised by Europeans.
Annalene Beechey stars as the headstrong but kind-hearted schoolteacher, Anna, and brings a Disney princess charm to the character. She perfectly embodies Deborah Kerr’s rendition of Anna from the 1956 film of the same name, at times delivering the lines almost exactly as Kerr herself did all those years ago. Yet Beechey’s Anna stands out and reminds us that, for all intents and purposes, Anna is a modern woman with modern values. And while that may not always translate to her views on Thai culture, she certainly has more 21st-century views on women that speak to modern audiences.
Yuki Ozeki in THE KING AND I. Photo Credit: Johan Persson
This is not to mention Beechey’s exceptional vocal talent, delivering each song with grace and elegance that we all associate with Anna. Her vocals are reminiscent of the 1950s musical stars that would have played the role when it first came to our stages.
As the titular stubborn yet endearing King of Siam, we have Darren Lee, who brings a new personality to the infamous character. While his performance and vocals are strong, commanding, and powerful, Lee also brings a disarming flamboyance and flair to the character that humanises and softens him. Rather than previous portrayals that cast King Mongkut as ignorant and simple-minded, Lee brings intelligence, wit, and authority to the role. He does the justice and respect to the real King Mongkut that THE KING AND I has struggled to do over the years; whilst still reminding us that this is simply a character and an entirely fantastical representation of the real man himself.
Lee’s mischievous sparkle and charm reminds us why even in the King’s most misguided moments, Anna still feels compelled by him – as do we. The chemistry between Lee and Beechey is natural and believable, reminiscent of the relationship that Deborah Kerr and Yul Brynner brought to our screens all those years ago, but with a new-found tenderness and authenticity.
Marienella Phillips & Dean John-Wilson in THE KING AND I. Photo Credit: Johan Persson
Of course, for all of its charm, even this production of THE KING AND I can still, at times, strike the wrong chord, as it is hard to escape the colonialist origins of the musical whilst remaining true to the words that Oscar Hammerstein II wrote. Nowhere is this more apparent than the way in which the story tries to depict mutual respect and interest in each other’s cultures, yet it is still the King that has far more to learn from Anna and her Western values, whilst Anna remains mostly the same.
Ultimately, the original story’s infantilising and condescending depictions of Thai people still come through at times, even though they may not be as glaring as in the 1956 film – which was banned in Thailand for a considerable time for its depictions of King Mongkut and Thai people, and due to the real Anna Leonowens having misrepresented the King in her accounts, therefore shattering the romantic illusion that THE KING AND I creates.
This production, however, tries to place more emphasis on the idea that this is less a love story between two individuals but a love story between two cultures. Trying to remain sensitive to the origins of the story, the production brings in as much authentic Thai culture as possible, with elaborate and traditional costumes; choreography that incorporated traditional dance into the familiar sequences, though it would be interesting in future to see what THE KING AND I could look like with an Asian production and creative team behind it.
The dancers within the cast were outstanding, perfectly executing some particularly complex sequences and bringing a refreshing depiction of Thai culture to the piece. Choreographer Christopher Gattelli and resident choreographer Yuki Ozeki take Trude Rittmann’s dance arrangement and Jerome Robbins’s original choreography and brings together elements of traditional Thai dance and Victorian English sequences, blending them perfectly whilst also allowing Thai culture to stand on its own in moments of untouched beauty.
Visually and audibly, THE KING AND I is breathtakingly beautiful, with a colourful, striking, and romantic set design from Michelle Yeargan that perfectly captured the grandeur of the Thai palace. Paired with Catherine Zuber’s stunning costume design, which also perfectly combined English and Thai culture and brought individuality and personality to each character, they have created a production that is sparkling and extravagant.
And that is without mentioning the vocal talent of the cast, which was truly masterful. Marienella Phillips as Tuptim particularly stood out for her captivating renditions of My Lord and Master and I Have Dreamed, with her operatic vocals and emotional performance enchanting the audience. Additionally, Richard Rogers and Oscar Hammerstein II’s music and lyrics remain as nostalgic and touching as ever, the live orchestra providing the perfect accompaniment to this powerful cast.
It is impossible to separate THE KING AND I from its past and from the way in which it represents the Thai people. It is and always will be a product of its time, but as long as directors, producers, and casting directors remain sensitive to this by continuing to cast Asian actors in these roles as the 1956 film neglected to do; and representing Thai culture in all of its authenticity and richness, it can still continue to touch the hearts of audiences worldwide.
THE KING AND I runs at the Palace Theatre, Manchester, until 13 May 2023
Megan Hyland is a full-time domestic abuse charity worker; part-time entertainment reviewer; and professional over-achiever. Currently one of ten writers chosen for Northern Broadsides’ Young Writers Forge, you can read more of her review writing at UpstagedManchester, The Custard TV and her blog The Manchester Maverick.
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