Review: THE KING AND I, Dominion Theatre

What is classic for some feels dated to others. Those who were horrified by Daniel Fish’s starkly stripped back version of OKLAHOMA! should rush to the Dominion Theatre for something much more traditional. After a UK tour, Rodgers and Hammerstein’s The King and I settles in for a brief six week run.

The story follows widow Anna Leonowens who arrives in Siam to tutor the royal children. There she clashes repeatedly with the domineering King Mongkut, while growing closer to his family as he defends his country from threats from Western powers.

Like so many mid-century classics, the 1951 story is problematic; with themes of white saviours, Orientalism and glorification of the British Empire. It is not something that would be written today. Legendary director Bartlett Sher’s 2015 version manages to find some balance in criticism of both East and West, with exposition of slavery on one hand and questioning of Victorian corsetry on another.

Call the Midwife’s Helen George reprises her role from the UK tour as the straight-talking and spirited teacher Anna Leonowens. George is absolutely charming; slightly prim, very proper and very at home in her foreign surroundings. Her voice is clear and crisp, but needs a little more power at times.

Darren Lee know the role of the King like the back of his hand and it shows: gruff and quick to anger, but with wicked sparkle in his eye. More importantly, Lee portrays the character as highly astute and intelligent, not a puppet to be manipulated.

The chemistry between the pair doesn’t exactly set the stage alight, with the exception of during the exhilarating “Shall We Dance” scene, when the barest hints of romance come through in their body language as they cavort around the stage.

Cezarah Bonner’s Lady Thiang, is wise and shrewd. Bonner brings real poignancy to her elevated rendition of “Something Wonderful”, her song about the King. Caleb Lagayan is also great as the uncertain Prince Chulalongkorn and Marienella Philips gives clarity and balance to her voice as the enslaved Tuptim.

The ensemble work is great: Christopher Gattelli’s elegant choreography comes to the fore in the elaborate, albeit rather long, presentation of Tuptim’s play, “The Small House of Uncle Thomas” and you cannot helped but be charmed by the young children of the household.

The impressive look of the production belies that fact that the set changes are quite simplistic-using mainly a wall backdrop, a variety of gauze curtains and moving pillars to set the scene. An impressive steamer boat and giant Buddha statue add to the atmosphere of grandeur; the vastness of the Dominion is a perfect setting to reflect the grandness of the Siam court.

Catherine Zuber’s costumes are ravishing; intricate embroidery, jewel-like colours and, of course, enormous skirts. Donald Holder’s lighting design also adds hugely to the production, with a gorgeous colour palette reflecting both times of day and atmosphere.

At three hours, the production could do with a trim, but if old-school musicals are your thing, you’re in for a treat.

The King and I is at the Dominion Theatre until 2 March

Photo Credits: Johan Persson

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