`The King and I' Has Returned in a Lavish, Vibrant
Production
BY NANCY MELICH
THE
SALT LAKE TRIBUNE
Anna and the King are dancing once again, and
oh my, how glorious it is. Has there ever been a more passionate moment
involving a polka?
Her sweeping crenoline, whirling across the
palace floor. His bare feet seductively brushing against the hem of her
satin gown. ``One, two, three, and one, two, three, and. . . .''
Richard Rodgers and Oscar Hammerstein may have
had difficulty lo these many years ago adapting Margaret Landon's novel
Anna and the King of Siam for the stage, but when it came to composing
that magical number, the muse was present.
Legend has it that Rodgers wrote ``Shall We
Dance?'' in a scant four minutes -- the length of time it takes Hayley
Mills and Vee Talmadge to re-create the theatrical masterpiece in this
sumptuous national touring production now at Salt Lake City's Capitol
Theatre.
In British director Christopher Renshaw's
vision, ``The King and I'' remains the story of an East-meets-West
flirtation, a display of female determination coming up against a rigid
patriarchy in 19th-century Siam. The show had something to say about
racism and authoritarianism for post-World War II audiences and it does
again, some 46 years after its Broadway premiere.
``Getting to Know You'' has particular
poignancy today, with the marvelous subtlety of Hammerstein's wisdom
infusing the lyrics. The ``Small House of Uncle Thomas'' with Jerome
Robbins' insightful choreography remains one of the musical's most
enchanting -- and wrenching -- scenes.
There is also a sense of intimacy created on
this huge canvas by the Australian design team of Brian Thomson (sets),
Roger Kirk (costumes) and Nigel Levings (lighting). Yes, there is enough
glitz and spectacle to satisfy the opulent stage cravings of '90s
audiences, but somehow the giant red elephant cutouts and massive gold
throne blend rather than dominate.
Stepping out of the long shadow of Yul Brynner
is Vee Talmadge, a Salt Laker by birth, who does not disappoint in his
role as King. With flowing long black hair and a stance that anchors his
sturdy body firmly into the stature of a monarch, Talmadge delivers an
irresistible and seductive performance.
He barks with force, his baritone voice making
up in honesty what it might lack in range. His blue eyes have a fixation
of purpose and an inquisitiveness that reflect a brilliant mind as well
as a vulnerable heart. He is funny without knowing it, particularly when
receiving the bows of his adorable children. When he tells Anna that
something is wrong with the way they are dancing, then moves his hand
around her waist, music can be heard even before the orchestra plays
another note.
Mills delivers an honest interpretation, but
not a commanding one. She is hampered by a singing voice that fails to
soar and pales considerably when juxtaposed against the magnificent
vocal range of Helen Yu as Lady Thiang and Luzviminda Lor as Tuptim.
The former Disney child star presents an
elegant-looking woman, gracefully retaining Anna's dignity while
maneuvering in those massive skirts. She is at her finest in her
nonsinging exchanges with the king, holding back her assertiveness as he
offers yet another command.
In the end, ``The King and I'' has returned in
a production rich with physical lavishness, abundant with melodic
texture, vibrant with actor interpretation and best of all, reprising a
four-minute dance between cultures that continues to last a lifetime.
A Royal Show
The national touring production of ``The King
and I'' continues tonight and Friday at 7:30, Saturday and Sunday at 2
p.m. and 7:30 p.m., and Monday through Wednesday at 7:30 p.m.
It also is performed Nov. 28 and 29 at 2 p.m.
and 7:30 p.m.; and Nov. 30 at 2 p.m.
All shows at the Capitol Theatre, 50 W. 200
South, Salt Lake City.
Tickets for this Theater League of Utah
presentation are $25 to $60 and available through ArtTix, 355-ARTS.
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