Nottingham Theatre Royal – until Saturday 23 October 2023
Reviewed by Louise Ford
3***
My cup of tea? Etc… etc… etc…
I have fond memories of watching the 1956 Hollywood musical film of the King and I with the glorious Yul Brynner and Deborah Kerr. I hadn’t realised, not sure how it had passed me by, that the film was based on a 1951 musical by Rodgers and Hammerstein and didn’t just appear perfectly formed in all of its on screen glory. The film was nominated for 9 Oscars and won 5, including best actor for Bryner.
The musical and film are based on the novel by Margaret Landon which in turn was based on the memories written by Anne Leonowens. So there is a lot of history and interpretations in the mix.
The songs are familiar and catchy in equal measure although they don’t have the impact of some of their (Rodger’s and Hammerstein’s) more famous musicals The Sound of Music or Oklahoma, for example. What the songs and the musical does have is the post WW11 view of America, democracy and the West being best and the East being exotic, barbaric and in need of (scientific) education. I think that it is this tone or message that makes it an uncomfortable watch today. It should be an amazing story of a brave and adventurous woman and her son having an incredible journey in an area of the globe that is going through changes and trying to assert itself in a developing world. Instead the story just reels out the Colonial prejudice and misogyny of the past.
I think that with some tweaks and a bit of a rewrite the story could have been updated to give a more meaningful and insightful view of the period. Whilst keeping the humour and clash of cultures and personalities at its heart.
But we are where we are and the current production, directed by Bartlett Sher started its UK tour in January 2023 and is due to transfer to the West End in 2024 is a faithful and energetic retelling of the story.
The set designed by Michael Yeargan is quite pared back but nevertheless manages to convey the Imperial Palace with the use of sumptuous fabrics, moving pillars and effective lighting (also Yeargan).
The musical opens with Anna (Maria Coyne) on board the Chow Phya taking her and her son Louis (Charlie McGuire) to Bangkok. It is 1862 and Anna is newly widowed, she is taking up a new post as governess to the King of Siam’s 87 (and increasing) children. There is an ominous and impressive red sunset silhouetting the travellers . To keep their spirits up Anna shares with Louis her secret; that when she is afraid she whistles a happy tune. Cue ear worm!
Anna and Louis despite being advised against taking up the role by the kindly and concerned Captain Orton (Sam Jenkins-Shaw), venture onto the Palace. They are greeted with pomp and confusion by Kralahome (Kok-Hwa Lie), the King’s advisor. Who isn’t that pleased to see them. The King (Darren Lee) has a more subdued entrance on to the set, although he does become more dominant and charismatic as the story unfolds. Anna is played brilliantly as the clipped-vowel’d, up tight Victorian nanny/governess, all very Mary Poppins in a super large skirt! She does however get to let her hair down and expose her shoulders when attending the dinner dance for the visiting dignitaries.
The costumes by Catherine Zuber fall into two camps the neat and tidy Siamese dress and the over the top, absurd Victorian gowns worn by Anna.
The part that I enjoyed the most was the dancing and the ensemble production of The Small House of Uncle Thomas. The costumes and choreography were a delight.
The Nottingham audience were entranced by the production they sang along to the familiar songs, oohed and ahhhed at the children (they were mischievous and appealing in equal measure) and were moved to tears at the final scene and gave the show a standing ovation!