By Alessandra Djurklou, for the Press Telegram
Cultures clash amid great music in 'The King and I'

When the film version of "The King and I," starring Yul Brynner, was released in the '50s, it was banned in Thailand for historical inaccuracy and disrespect toward the royal family. Anna Leonowens, whose books became the basis of the musical, has also been criticized for inconsistencies in her portrayal of her own life story.

Nonetheless, Rodgers and Hammerstein's musical continues to be performed and beloved to this day, and, historical accuracy aside, is a great show full of pageantry and a hummable score.

Musical Theatre West opened its fifth production of the musical last weekend, and does justice to the show's demands with a magnificent set, well-tuned orchestra and capable cast.

The story is about a British woman, Anna Leonowens, who is hired by the King of Siam to teach English to his many children. She brings her own son with her, and the two quickly discover that the King expects complete obedience from them and all his subjects.

However, that doesn't stop Anna from spreading a little early feminism among the King's wives, or some Western ideas to the children (in the show and in real life, the King's oldest son, Prince Chulalongkorn, became known for his progressiveness when he took over the throne). While bristling at her attitude, the King comes to respect and even love Anna, though she doesn't become one of his wives at the end.

A subplot involves the beautiful Tuptim, who, in spite of being given as chattel to the King by the Burmese, has her own ideas of love and freedom, ideas that can only lead to bad results.

Directed and choreographed by Roger Castellano, with musical direction by Dennis Castellano, Musical Theatre West's production starts off strong. Elizabeth Ward Land plays Anna with a fearless zeal and a nice voice (her two big numbers, "I Whistle a Happy Tune" and "Getting to Know You" are well done). The way she handles those enormous hoop skirts should be particularly praised.

Quintan Craig, as her son Louis, is precocious but not cloying, and holds his own with Ward Land vocally.

All the many children in this show blend together after a while, but it goes without saying that all are absolutely adorable. Tony Cheng is a bit stiff at times as Prince Chulalongkorn, but not to the detriment of the show.

Daniel Guzman plays the King with all the high-handedness and pride called for, often making himself out as less than a fearless ruler and more as a petulant schoolboy. His number, "A Puzzlement," is well done if a bit unmemorable tune-wise.

Guzman and Ward Land have a nice squabbling rapport.

The other women in the King's life are also well-represented. Suzanna Guzman is powerful as Lady Thiang, and sings well on her number, "Something Wonderful."

Cherrie Cruz is marvelous vocally as Tuptim, in her duet with Lun Tha (an affable Richard Bermudez) in "We Kiss in a Shadow."

A highlight of the show is the play within a play, "The Small House of Uncle Thomas." The ballet is beautifully executed with great effects and costumes.

11/15/2005

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