Edinburgh Playhouse – until 26 October 2019
Reviwed by Manetta McIntosh
5*****
Fab-U-Lous
From the moment the curtains opened I was captivated. This iconic Rogers and Hammerstein musical transported the audience to the Bangkok docks for the arrival of Anna, played by Annalene Beechey, and her son, played by Joseph Black, on a paddle steamer – a truly imposing first impression. Michael Yeargan’s set was incredible, you did not feel there was any compromise from the big stage to the tour and it so cleverly transformed from the docks to the Palace, where much of the production takes place.
The story, for those who may not know, is about an English widow who moves to Bangkok, with her son, to take on a teaching role for the family of the King of Siam (now modern-day Thailand). Growing up my family used to watch Yul Brynner every year in the role of the King and it is difficult to imagine anyone able to make this their own. Jose Llana did just that, he was imposing, he was funny, he was petulant and his on-stage relationship with Anna was delightfully frustrating. Annalene Beechey plays the strong, independent woman with such grace, such style, such elegance and as soon as she started singing ‘I Whistle a Happy Tune‘ you could see the heads of the audience swaying and bobbing along.
Although the story is predominately about Anna and the King, the supporting cast were well represented. Paulina Yeung in the role of Tuptim absolutely blew me away with her singing and from the audience reaction I think this was felt by everyone. Lady Thiang, played by Cezarah Bonner, was another strong presence. Her role as the Kings ‘head wife’ was sensitively portrayed as she brokers the relationship between her husband and the schoolteacher, who is trying to show the rest of the World he is not a barbarian, etcetera, etcetera.
The second half contained a performance within a performance with the depiction of ‘The Small House of Uncle Thomas‘ ballet. This was important to the story, as it is Tuptim’s way of showing the King the similarities between black slavery and how he ‘collects’ women to his Royal household as she has been, despite the fact she loves someone else. A very sensitive subject but cleverly interpreted. The choreography ingeniously depicted this ballet as if it were a shadow play, which is very much in-keeping with the time. The political, racial and religious aspects to the original story are not completely disguised, Bartlett Sher has done a fantastic job to sympathetically incorporate the essence of the original story, without the controversy it would cause in today’s climate.
The Royal children were absolutely delightful, they added some well punctuated humour and softness to the evening. The costumes were exquisite, Catherine Zuber has created an appropriately opulent feel to this production. This was a truly professional production in every aspect and will have you whistling happy tunes for the rest of the evening.