There is a sweet simplicity to The King and I, in terms of plot and characters, themes and songs, et cetera, which, 68 years after its Broadway opening, ensures that Rodgers and Hammerstein’s Tony Award-winning musical, revived in a touring production by Lincoln Centre Theatre of New York, shall for decades to come continue to dance.

With the exception of the King (Jose Llana) toying with the idea of building a Trumpian fence around his beloved Siam in order to protect his loyal subjects from outsiders, and the spread of fake news – comically referred to as “false lies” – by said outsiders who label him a “barbarian”, there are few contemporary parallels.

But what resonates with modern audiences just as much as those from the fifties is the loving bond which slowly develops between the headstrong but puzzled King and the principled but gracious Anna (Annalene Beechey), hired to teach his ever-increasing flock of adorable children, which pinnacles in the joyous Shall We Dance?

Other than the meticulously choreographed show-within-a-show about the death of a king in pursuit of a slave, narrated by Tuptim (Paulina Yeung) whose clandestine relationship with Lun Tha (Ethan Le Phong) gives birth to the memorable We Kiss In A Shadow and I Have Dreamed, there are few set pieces. Indeed, both acts open and close with low-key passages of dialogue rather than showstoppers.

But this only adds to the play’s charm. Along with a number of scenes in which generous time and space is devoted to the depiction of culture and youth. The latter of whom present themselves to Anna in a wordless wonder of a procession, with each revealing their distinctive personalities (shy and playful, petulant and bookish) through multiple variations of curtsies and bows.

Racism and sexism rear their ugly heads as what passes for normal in the West is treated with suspicion in the East, and vice versa. But through Anna’s example of courteous and persistent challenge based on facts not ignorance, the next generation in the form of the heir to the throne Prince Chulalongkorn (Aaron Teoh) questions rather than accepts social norms as decreed by My Lord And Master.

But what really shines through in director Bartlett Sher’s production, which won four Tony Awards including Best Revival of a Musical when it premiered on Broadway before touring the States and enjoying a sold-out run at the London Palladium, is the heart and the humour. Particularly the humour which is largely born of cultural and linguistic misunderstandings between Anna And The King Of Siam (the title of Margaret Landon’s novel upon which the musical is based).

Most of it is expressed through dialogue and facial reactions, though a couple of comical numbers showcase Rodgers and Hammerstein’s mastery of music and lyrics such as the following tongue-twister from Shall I Tell You What I Think Of You?: “I do not like polygamy / Or even moderate bigamy / I realize / That in your eyes / That clearly makes a prig o’ me”.

None of which would make much of an impact on the audience if the leads weren’t up to scratch, for as Sher writes in the programme notes, “It is essentially a very large-scale two-person show”. But this is not an accusation which can be leveled at Annalene Beechey and Jose Llana. Both of whom are effortlessly excellent and strike up a winning chemistry. Beechey’s voice the personification of sweetness. Llana’s comical timing gloriously on the money.

As are Catherine Zuber’s Tony Award-winning costume designs which like Lady Thiang’s (Cezarah Bonner’s) final number of Act 1 are Something Wonderful.

“Follow your star” is one of Anna’s pearls of wisdom to the young lovers. But if you miss this star vehicle which runs at the Edinburgh Playhouse until 26 October, fret not, for it returns to Scotland at the end of January for a week-long run at the King’s in Glasgow before sailing into port at the appropriately named Mayflower Theatre in Southampton at the start of May.

Peter Callaghan
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