Though Stephen Sondheim is my favourite composer in musical theatre, the team of Rodgers and Hammerstein come a very close second. For me their melodies are the most luscious ever written, and many of their lyrics are so meaningful and beautiful. I have my grandparents to thank for introducing me to their work through many of the classic film versions of their musicals, in particular The Sound of Music, Carousel and Oklahoma! as I was growing up. I spent many a happy afternoon with my late grandma watching them, and still to this day my grandpa will belt out a song or two if he’s around when I’m watching one!
One of their musicals I had been less familiar with was their fifth collaboration: 1951’s The King and I.

Inspired by Margaret Landon’s 1944 fictionalised biographical novel, Anna and the King of Siam, the musical follows Anna Leonowens. The King, wanting Siam to be a modern nation has employed Anna to teach his many wives and children, and finds her spirited, strong willed nature to be a challenge he never expected.

I haven’t had many opportunities to see Rodgers and Hammerstein’s work onstage aside from The Sound of Music twice over the years, so I was overjoyed to hear the 2015 Lincoln Center Theatre’s multi Tony Award winning revival of The King and I would be heading across the pond to play at The London Palladium for a limited engagement from June until September, with its original stars: Kelli O’ Hara and Ken Watanabe reprising their roles.

Knowing the few songs and adoring them as I did, I knew that this show was going to be a special moment in my theatre going calendar, but I wasn’t prepared for the sheer intensity of emotion it gave to me, and was a thing of glorious, golden aged theatrical joy and beauty from start to finish.

To some, Rodgers and Hammerstein is rather dated, perhaps especially here as it explores imperialism, the meeting of different values and cultures and the friction this can potentially create, and a woman’s place in society according to a man, but I would argue that is of a certain time, and you should be able to appreciate it as such. Bartlett Sher’s direction is incredibly mindful of this dynamic, and his choices are wonderfully subtle and nuanced so I looked at these themes anew. It’s also funnier than I was expecting, particularly in terms of some of Anna and the King’s exchanges, the comic timing is superb throughout. The production as a whole feels incredibly lavish, especially in terms of Catherine Zuber’s gorgeous costumes, but cleverly the set design by Michael Yeargan is stripped back, complimented beautifully by Donald Holder’s subtle and atmospheric changes in lighting: the whole effect is perfectly well balanced and never over the top, highlighting the storytelling without overwhelming it in spectacle.

When it calls for spectacle though, we get it magnificently, the choreography by Christopher Gattelli is astonishing, working from and inspired by the original choreography of Jerome Robbins. The “Small House of Uncle Thomas” ballet sequence is danced superbly, and Shall We Dance was an absolute highlight of the evening for me.

So, when you have a production that is so well designed and nuanced, you need a cast that shines just as brightly, and we get this in spades!
Ken Watanabe is a delight as the eponymous King of Siam, I especially liked how his portrayal presents the king as being insecure, troubled and perhaps lonely at times. He demonstrates charisma that makes him an imposing presence but manages to marry this with warmth and humour, which makes the undercurrent of tension between he and Anna all the more interesting: it’s a coming together of two people learning to respect each other. This made the flashes of romantic tension, such as when he corrects her pose during Shall We Dance letting go of her hands and placing his hand around her waist and bringing her closer to him more exciting.

Seeing a performer you admire is always a special thing; but seeing them when you thought you would never have the chance too because of your disability and the issue it presents to travelling abroad is something else entirely. Kelli O’Hara first came into my life thanks to the Cast Recording of The Bridges of Madison County and I have been smitten by her voice ever since. My joy at being able to be in the same space as her and watch her work was unlike anything I’ve ever experienced with another theatre actor: I was so emotional and excited, and many a tear was shed! Needless to say I thought she was utterly radiant as Anna, she shows sublime depth and understanding of emotion, and her portrayal is wonderfully sweet and sassy, complimented by a soaring vocal that fits the score like a glove. Her rendition of Hello Young Lovers especially took my breath away and I couldn’t take my eyes off her whenever she was onstage.
She and Ken share one of (if not the strongest) examples of chemistry between a leading couple in a musical I’ve seen in recent years. Having played the roles before, you can see how well they understand each other and their roles, and their confidence shines through: they pick up on every little nuance thrown and it’s fascinating to watch. I particularly loved the scene where Anna challenges the King over his treatment of Tuptim after she runs away!

Speaking of Tuptim, she is brought to life beautifully by Na – Young Jeon, who I hadn’t seen since her time at Les Miserables. Her spirit and emotion is so moving and like Kelli, her voice suits this score to a tee. The other half of our Young Lovers, Dean – John Wilson was a new face for me, charming and loveable as Lun Tha. Their chemistry was so endearing and their vocals a brilliant match – when it got to my favourite musical number from the show: I Have Dreamed I had a totally silly happy grin and was so swept away, just how I like my romantic musical numbers.

There is strong support, too, from Takao Osawa who is wonderfully imposing and charismatic as Kralahome, and Naoko Mori shines as Lady Thiang. Adults aside, all the children are also massively talented and so fun to watch.
A special mention too, must go to the orchestra, under the direction of Stephen Ridley; who gave me more than a few spine tingling moments!

Ever sit in an auditorium and get the thought: I am devastated I will never experience this show for the first time ever again? This was me, time and time again last Saturday, but I wouldn’t change it for the world!

Thankyou also to Kelli for her kindness and warmth at Stage Door – it meant more than I have suitable words to express.