%20and%20Darren%20Lee%20(King%20of%20Siam)%20Pamela%20Raith%20Photography.jpg)
I first saw The King And I on the same Milton Keynes Theatre stage three years ago, and I was enthralled. It has to be said that the passing of the years has not changed that position, mostly, helped in no small way by the fact that this new tour brings the same two amazing leads as back in 2023.
.jpg)
The first obvious thing from The Lincoln Center Theater Production of The King and I is that it looks gorgeous, despite being a touring production, this carries with it a lot of set, costumes and props to make you feel that you are getting as near as possible, a London resident production.
Leading the cast, and as mentioned, still there from 2020 is Annalene Beechey as Anna, a teacher who travels to teach the children of the court of Siam. The King is also played once again by Darren Lee from that previous tour, and it has to be said that they are magnificent together, going through their burgeoning partnership of friction and cultural shocks with both emotion and empathy. You can see why they both continue in these roles and the deft touch on the characters is superb. Lee, in particular, has such a brilliant ability with comic timing, and yes, this is something those who haven't seen, may not realise, The King And I is a tremendously witty show.
%20and%20Dean%20John-Wilson%20(Lun%20Tha).jpg)
Marienella Phillips as Tuptim and Dean John-Wilson as Lun Tha have lovely and gentle on-stage chemistry as the forbidden lovers and are simply perfect in their two duets of We Kiss in a Shadow and I Have Dreamed. Also, as is needed of The King And I, a large number of young talent is on show and here they bring a lovely mixture of characterisations, especially during the superb March of the Siamese Children, which includes a tremendous piece of music.
Talking musically, this is of course an excellent show, which even if you have never seen it before will have some familiarity thanks to classic tunes such as I Whistle a Happy Tune and Getting to Know You being included. It is, to be honest, classic Rodgers & Hammerstein fodder, stirring an overload of nostalgia from the audience and you can see looking around the theatre that this very much appeals to the more mature clientele generally.
%20.jpg)
The world of Siam and the palace looks suitably lavish on stage thanks to Michael Yeargan's set, setting its stall out in the very first scene with a delightful boat sequence and then onwards into the palace with gliding pillars moving us around the King's palace. The impressive visual impression continues with Catherine Zuber's excellent, perfectly period costumes. Director Bartlett Sher keeps the whole show moving with swift scene changes and excellent interludes from the company filling any prolonged scene changes.
The only real criticism to be laid upon the show, maybe for a modern audience, is that this is an extremely long production, featuring perhaps some material, and dare I say padding, that would maybe not reach the stage now in a new more condensed production. With a 90-minute opening act, and a 70-minute second act, audiences, while perhaps mostly enthralled, will need to ensure they are comfortable in their seats. Some also might find some of the tone and stereotypes within the show uncomfortable, but there is no question this simply represents the period and even for a show over 70 years old, there is an attempt to very successfully challenge these issues.
.jpg)
Leading the cast, and as mentioned, still there from 2020 is Annalene Beechey as Anna, a teacher who travels to teach the children of the court of Siam. The King is also played once again by Darren Lee from that previous tour, and it has to be said that they are magnificent together, going through their burgeoning partnership of friction and cultural shocks with both emotion and empathy. You can see why they both continue in these roles and the deft touch on the characters is superb. Lee, in particular, has such a brilliant ability with comic timing, and yes, this is something those who haven't seen, may not realise, The King And I is a tremendously witty show.
%20and%20Dean%20John-Wilson%20(Lun%20Tha).jpg)
Talking musically, this is of course an excellent show, which even if you have never seen it before will have some familiarity thanks to classic tunes such as I Whistle a Happy Tune and Getting to Know You being included. It is, to be honest, classic Rodgers & Hammerstein fodder, stirring an overload of nostalgia from the audience and you can see looking around the theatre that this very much appeals to the more mature clientele generally.
%20.jpg)
The only real criticism to be laid upon the show, maybe for a modern audience, is that this is an extremely long production, featuring perhaps some material, and dare I say padding, that would maybe not reach the stage now in a new more condensed production. With a 90-minute opening act, and a 70-minute second act, audiences, while perhaps mostly enthralled, will need to ensure they are comfortable in their seats. Some also might find some of the tone and stereotypes within the show uncomfortable, but there is no question this simply represents the period and even for a show over 70 years old, there is an attempt to very successfully challenge these issues.
The King And I is a lovely evening at the theatre, while it is perhaps slightly overlong, this is a classic show simply dripping in atmosphere and for those who like their shows old style, comes extremely highly recommend.
A sumptuous and beautiful production of a classic show. Long live the King!
⭐⭐⭐⭐
Performance reviewed: Tuesday 7th November 2023 at Milton Keynes Theatre, Milton Keynes.
The King and I runs at Milton Keynes Theatre until Saturday 11th November 2023.
Further details about Milton Keynes Theatre can be found at http://www.atgtickets.com/venues/milton-keynes-theatre/
Photos: Johan Persson
%20and%20Female%20ensemble%20.jpg)