The King And I

Reviewed by Holly Bartges

Thirty-three actors, a gorgeous set, and beautiful period costumes transport Littleton’s Town Hall into Siam for the beloved Rodgers and Hammerstein musical The King and I.

The King of Siam (Jonathan Farwell) and Anna Leonowens (Elizabeth Welch) in Town Hall Arts Center’s production of The King And I.

Little wonder why this smashing Broadway musical remains ever popular with its memorable music, defining lyrics, the clash of cultures, forbidden love, a woman who has the nerve and gaul to stand up to an overbearing, macho bully of a King who rules his country with an iron fist, who demands total obedience, who clings to the idea the world revolves around his small country, and who in secret ponders whether he knows anything at all.

Directed and choreographed by Melissa McCarl, she has taken great care in using the Town Hall’s space. With the large cast no one scene looks overcrowded or squeezes the actors into oblivion. Her choreography wonderfully fits the demands of the musical while at the same time fitting the level of dance abilities for the adults as well as for the children.

Although not a completely top-notch professional production, the canned music detracts from the quality, and some of the actors may be comfortable in their costumes, they are stiff with their characters. This production maintains the enduring magical qualities that have thrilled audiences for years.

Jonathan Farwell plays the King with the attitude he has done this before. Indeed he has. He was Yul Brenner’s understudy on Broadway while he played Kralahome. Definitely impressive. It is easy to imagine his once powerful voice shook the rafters, but time and space now begins to interfere with the power. Wobbles sneak in when wobbles aren’t wanted.

Elizabeth Welch takes on the role of Anna Leonowens with her gorgeous voice, dressed to the hilt as the English widow who responds to an ad to teach the King’s children. Her artistic sensibilities envelop the outspoken, creative, inquisitive teacher. She’s a thrill to watch and listen to.

Tina Anderson designed the eye-catching Siam set giving the production a strong flavor without overcrowding the small stage. Linda Morken was the original costume designer with Joanne Kearns outfitting this cast to perfection.

For the most part, the characters are well founded. There are a few who only flirt with their character without ever quite growing into owning them. Eric Tedesco who plays Anna’s son, Louis remains stiff looking uncomfortable. This young man definitely has talent. He needs to relax and know it.

Deb Note Farwell wears the demeanor of Lady Thiang, the King’s favorite wife with grace and an all-knowing twinkle in her eye. The King has power, but she has wisdom and Farwell knows when to reveal Lady Thiang’s wisdom and when to hide it.

Merrie Dooley and Gabriel Morales beautifully portray the forbidden love affair between Tuptim, a slave given to the King from the Prince of Burma and Lun Tha. Tuptim’s thirst for knowledge and eagerness to read feeds her curiosity with the American story of “The Small House of Uncle Thomas.” The narration and Ballet is stunning, charming, and heartbreaking with Tuptim’s attempt to get a strong point filtered through the King’s ears into his brain.

Anna’s “Hello, Young Lovers” is sung from the heart of Welch as though it has never before been sung.

The King lives through his confusion of new ideas introduced into his Palace with defining confusion when he sings “A Puzzlement.” This is always a strong highlight within the show, and Farwell provides the humorous and decisive attention it wants to proclaim. In spite of his confusion, he tells his son, Prince Chululongkorn, (Ryan Laikola) “One day you will be King and you will know everything.” The King so wants to believe that. Laikola allows the Prince room and expression to honor his Father at the same time knowing there is more to knowledge than what the King can provide. An insightful moment in the production that Laikola brings to light.

The children, the young prince and princesses are adorable, as children can be in a production. They especially shine with their introduction to Anna in “The March of The Siamese Children.” During other scenes some of them have difficulty maintaining attention. Some of them never seem to forget who they are and where they are.

The scene where the King insists, with authority and humor, no one’s head should ever be higher than his tests Anna’s mettle as he deliberately sinks lower and lower onto the floor. It is clear his authority is not to be challenged; while at the same time his funny bone tickles his imagination into play “etc, etc. etc” as he loves hearing himself repeat.

In spite of his stance, the King is cut to the bone when he hears other parts of the world consider him a Barbarian. This brings Sir Edward Ramsey (Kevin Walton), a once upon a time friend of Anna’s into play creating some ever so delightful humorous scenes.

The humor rapidly disappears when it is discovered Tuptim and Lun Tha have escaped. Lun Tha is killed and Tuptim is dragged before the King’s unleashed wrath. This is where the cultural conflicts, authority conflicts, power conflicts hit their high point between the King and Anna. The King’s violent reaction becomes his undoing, but Welch and Farwell quicken hearts with their all too believable encounter. Only Anna has the sacred nerve to stand up to him, developing a profound love story between a bully in pants, a tease, a curiosity seeker, who wants to grow and is afraid to grow, afraid of losing his manhood, authority, power, honor and a strong woman who profoundly believes in the dignity of humanity no matter who they are.

The King and I is a solid production with a solid cast based on solid direction. Some of the glitches will outgrow themselves as individual cast members realize their value in the large cast. It warms the heart, prompts thinking ability, and fills the mind with romance of another time and another place. As this Rodgers and Hammerstein’s classic has given to hundreds of thousands of audience members through the decades, Town Hall’s presentation continues the tradition. In the long run, the imperfections won’t matter.