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The King of Siam (Adam Jacobs) paces his study in the middle of the night. He’s alarmed at the growing number of countries being placed under larger country’s protections (read as: colonization). However, there is hope as Anna (Betsy Morgan) has a plan to show the world how Siam (modern day Thailand) is not just another barbarian country. Their energy lifts as they devise a plan, growing more and more energetic as they discuss this potential grand event. But they can’t do it alone.
Drury Lane Creates Grand Palace
A gong rings several times as if to raise the alarm. Even though this is just a theater production, it still rings loud enough as if we were at the palace and needed to alert everyone inside. It reverberates throughout the theater and actors upon actors assemble on the stage for the king’s announcement. This moment with each of the king’s advisers, wives, and children surrounding him is the pivotal moment at the end of Act I in the grand spectacle Drury Lane has created for its production of The King and I.
Aside from gongs, Drury Lane brings the palace in Siam to life through its design. As Anna and her son, Louie (Braden Crothers), make their way from the boat dock and see the palace for the first time, we too want to feel the same impressive feeling. The set is simple yet giving the illusion of magnitude. Sheer, billowing curtains hang from the sides of the proscenium. Fifteen-foot pillars fly in and, compared to the actors on stage, make it seem like we’re in a large and grand ballroom.
This larger-than-life set is complemented by costumes fit for royalty (designed by Izumi Inaba, inspired by the original design by Catherine Zuber). The king dons rich reds, purples, and golds. He walks with an authoritative air and is bejeweled with necklaces and rings. His wives and children similarly dress in these bright bold colors and expensive looking clothes.
Anna’s costumes are fit for a well to do lady. Her large Victorian style dresses are complete with hoop skirts and tailored corsets to juxtapose the royal family’s less structured garb. They give her a grand and commanding presence, fit for her character as she stands her ground with the king. In this writer’s opinion, her pink ball gown is a showstopper as it is perfect for dramatic exits - it’s train billowing dramatically behind Morgan as she rushes off the stage, never to speak to the king again.
Precision, Precision, Precision
How precise every movement is in this production!
The bows and shows of respect to the king are never hurried through, but deliberately acted with hand movements to the head, the heart, and to kneeling on the floor. During the parade, the procession walks out onto the stage in a precise line, never missing a step and not a hair out of place. We especially see this precision in the play-within-a-play ballet of Uncle Tom’s Cabin adapted by Tuptim (Paulina Yeung). Choreographed by Darren Lee and associate choreographer, Yuki Ozeki, you too might feel that the movement in this pseudo-ballet transports us as though we are actually watching a Southeast Asian ballet. Throughout, the impressive cast’s vocals are clear. The score is almost operatic in range and all performers rise to the challenge and deliver stunning renditions of this Rodgers and Hammerstein classic.
Characters We Can Connect With
This is the traditional The King and I story with themes of imperialism and colonization throughout. Yet, you too may agree with this reviewer that in this production, the actors add dimension by building more on their relationships and understandings of each other. Morgan gives us conflict in Anna as she angrily packs her suitcase and venomously spits out words she’d like to tell the King if she could in Shall I Tell You What I Think of You? But when it comes to each of the children and wives, it feels like genuine love and caring for each of them. Jacobs plays the King as confident and authoritative as you’d expect any good king to be. However, he also shows a touch of vulnerability as he sings through A Puzzlement, not condemning the changing world but curious as to how he should expand his views. These two know how to push each other’s buttons - Jacobs exercising his authority as king as Morgan stands firm in her own beliefs. But the moments when they come together to see and understand each other create those touching moments of the meeting of the minds.
The relationships between the women strike this writer as even more meaningful. The mutual understanding between Anna and Lady Thiang (Christine Bunuan) of how to work with the King’s ego has us feeling like we’re in on the scheme. And when Morgan throws herself to the ground in solidarity as Tuptim is held in place to be whipped, she grasps the young girl’s arm in an attempt at comfort to show she is not alone.
These moments – large and small throughout -- make us feel more connected to these characters.
Drury Lane’s production of The King and I would be a good fit for anyone who loves a traditional musical packed with talent.
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Note: Picture This Post reviews are excerpted by Theatre in Chicago.
CAST:
Betsy Morgan - Anna Leonowens
Adam Jacobs - The King of Siam
Christine Bunuan - Lady Thiang
Paulina Yeung - Tuptim
Ethan Le Phong - Lun Tha
Braden Crothers - Louis Leonowens
Nolan Maddox - alt. Louis Leonowens
Matthew Uzarraga - Prince Chulalongkorn
Karmann Bajuyo - The Kralahome
Victor Holstein - Captain Orton/Sir Edward Ramsey
Ensemble:
Kristine Bendul
Chih-Jou Cheng
Mai Claypool
Hannah Fernandes
Albert Hsueh
Kenway Hon Wai K. Kua
Kevin Kulp
Anthony Christopher Milfelt
Nich O’Neil
Yuki Ozeki
Aurora Penepacker
Richel Mari Ruiz
Garrett Shin
Marissa Swanner
Ayana Strutz
Michiko Takemasa
Children Ensemble:
Avelyn Choi
Dante Garcia
Enzo Garcia
Elle Laroco
Vin Laroco
Rika Nishikawa
Alexandrya Salazar
CREATIVE TEAM:
Riw Rakkulchon - Scenic Designer
WHEN:
Through May 22, 2022
Wednesdays
1:30 p.m.
Thursdays
1:30 p.m. and 8:00 p.m.
Fridays
8:00 p.m.
Saturdays
3:00 p.m. and 8:00 p.m.
Sundays
2:00 p.m. and 6:00 p.m
WHERE:
Drury Lane Theatre
100 Drury Lane
Oatbrook Terrace, IL 60181
Photos by Brett Beiner
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About the Author: Alexis Bugajski
Alexis is a theater reviewer, travel bug, media specialist, and burger & beer enthusiast. During the day she works in the advertising business as a senior communications designer. When night falls, or when she can escape to New York, she’s hitting the theaters to see as many shows as she can. And whenever she’s not at her desk or in the audience, she’s out seeking the best burger and beer offerings in Chicago.
Editor's Note: Click here to read more Picture this Post articles by Alexis Bugajski
