[rating=3]There are many reasons to go to the theatre. The stories, the sounds, the scenery. There’s the talent of the performers and the talent of the craftsmen behind the scenes. And for many of these reasons, you should consider seeing The King and I at the Marcus Center for the Performing Arts. The cast is incredible, the set and costuming is spectacular, and the choreography makes for an engaging production. This might be enough to suggest you see this production, however I’m inclined to recommend it only if you already know and appreciate the show. Otherwise, The King and I, even this much-acclaimed rendition based on the Tony Award-winning Lincoln Center Theater revival, falters in 2019.
For those unfamiliar with the story, The King and I takes place in 1860s Bangkok and begins when Anna Leonowens, a British teacher, arrives at the request of the king to teach his children and many wives. Angela Baumgardner plays a wonderful Anna, her voice and presence reminiscent of Julie Andrews. And Baumgardner and Pedro Ka’awaloa, who plays the King of Siam, have the chemistry required to make the story of this strong-willed and independent woman and an equally strong-willed and proud leader work on stage. Their capricious relationship is the foundational storyline and Ka’awaloa’s comedic timing, in particular, makes for an endearing push-pull. Theirs will never be a romantic relationship, but Lun Tha and Tuptim, played by Brandon Shan Chu and Paulina Yeung respectively, provide the element of romance with their forbidden love. (Their performance of “We Kiss in a Shadow” in the first act is a highlight of the show.)
The setting allows for visually stunning scenes. The majority takes place in and around the palace, much of which is defined by shifting floating columns and complimentary lighting. Pictures don’t do it justice, especially because they fail to capture the beauty of a billowing iridescent curtain that is used so thoughtfully to create spectacular backdrops. Again, lighting (by Donald Holder) is a key in making this element, quite literally, shine. I was truly in awe of the sets (by Michael Yeargan) and scenes. Of course, costuming (by Catherine Zuber) added another element to the visual spectacle. The best of this production, including the talents of a skilled cast, were put on display in “The Small House of Uncle Thomas,” a ballet performance within the show in the second act. I found myself captured by it all in this scene, which was beautifully choreographed (recreated by Greg Zane from Christopher Gattelli’s choreography based on the original work by Jerome Robbins).
Moments like this came periodically for me. I did find myself amused by “Getting to Know You,” but perhaps in a nostalgic way more than anything. It brought an old memory back to life–a memory of watching the 1956 film on a TV cart in the musical theater class I took as a freshman in high school. It took me a moment to realize, however, that this is not a memory I need or want to recall.
Perhaps I gave you reasons to go see this production, but there is also reason to give pause. I’m certain the king would describe me as “a very difficult woman,” but there you have it. ★★★
The King and I runs through Sunday, April 14:
Wednesday-Thursday 7:30 p.m.
Friday 8 p.m.
Saturday 2 p.m. and 8 p.m.
Sunday 1 p.m. and 6:30 p.m.
The show runs 2 hours 30 minutes with a 15-minute intermission.
Ticket prices range from $23 – $121.
Tickets can be purchased at MarcusCenter.org or Ticketmaster.com or by calling 414-273-7206 or visiting the Marcus Center Box Office at 929 North Water Street, Milwaukee.
Saz’s Hospitality Group offers a Dinner and a Show package for the April 11 production. Tickets are $115 and available through Eventbright. More information can be found at Saz’s Dinner and a Show page.
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