This weekend, Smithfield Little Theater opened it's final production of the season: the ambitious The King and I, directed by Kathy Eaton. Not only was it a quality production, it also epitomized what community theater should strive to be: a community's outlet for theater. With a cast of 38 actors, a production staff of 26, and a 16 piece orchestra (yes- orchestra!), there was plenty of opportunity for the community to participate. The program was filled with many examples of family members experiencing the joys of theater together. Bravo!
This choice to stage a well-known and lavish musical is more risky than many patrons may realize. While fond memory and notoriety may help to sell tickets, the performance “bar” will be set pretty high. Most of the audience members will arrive with an idea of what the show should look and sound like. This is certainly true for a show like The King and I, a classic piece from the musical-masters Rogers and Hammerstein that has run for countless years and been immortalized in a golden-age Hollywood film. Its songs have entered the mainstream of daily life and have been performed as solo pieces by countless artists. In short, the performance on stage will often bump up against a memory, not only for the audience but for the actors and director as well. It is a challenge this production faced bravely and, for the most part, successfully.
The show begins nicely with a very creative depiction of an early 1860's sailing ship taking British school-mistress Anna Leonowens (Karen Willard) and son, Louis (Chris Marchant) to her new post as governess and tutor to the children of the King of Siam. We are soon treated to Ms. Willard's first song of the evening, the familiar Whistle A Happy Tune. Patrons to the theater will spot her name many times on the posters of past productions that adorn the Smithfield Little Theater and her performance in this show is lovely. At the start, she thoroughly embodies a proper English woman who seems so sure of her moral grounding as she works to “civilize” the King's children and court. As the show progresses, however, she treats us to the subtle transformation that shows her confusion about, and then appreciation for, the King. A fine performance.
Our introduction to the King (Phoenix Malizia) is a powerful reminder of the inevitable “memory” mentioned earlier which is at work in a show like this. Mr. Malizia unquestionably possesses the signature bald head and powerful physique of the young Yul Brynner – the actor who created and embodied this role, and who played it throughout his life. But although Mr. Malizia absolutely looked the part and satisfied our collective “The King and I” memory, he never really succeeded in the all-important next step: bringing that character to life. His time on stage often seemed more like modeling than acting, as though “looking the part” was enough. It was hard to imagine that Anna would have ever developed an emotional attachment to this King, or he to her. The show would go on to provide wonderful pageantry but, without this connection between Anna and the King, it did not achieve its deeper power.
Speaking of pageantry: it was wonderful. The set for the scenes in the King's court was a creative structure of faux white marble floors, walls, and pillars, draped in rich reds and golds, and all topped with twin golden dragons. When the full court was present and the King's children were introduced to Anna, it was a sight to behold. Robert Cox and his crew (set design and construction), and Valerie Johnson and her crew (costumes) are to be congratulated for providing director Eaton with such a rich pallet to paint upon. And paint she did. This “introduction” scene with eleven (11) utterly charming young children was a delight for the audience. All presented themselves with the spirit, joy, and discipline that create good theater. In fact, all of the children's scenes in the show were great fun, including the playfully directed song Getting To Know You. These young performers - and all who helped guide them - are to be congratulated.
In an interesting twist of theatrical fate, the most challenging songs in this show do not belong to the stars. Rogers and Hammerstein had been hired to create this play for theater star Gertrude Lawrence, who was an actor - not a singer. That left the songs that were the works of art for the ill-fated lovers Lun Tha (Steven Martinez) and Tuptim (Kaitlin Bowles).
Tuptim arrives early in the show as a “gift” to the King from the King of Burma, “delivered” by Lun Tha, and quickly dispatched to the King's harem. Their romance, while discreet, is discovered by Anna (Hello, Young Lovers) and is beautifully proclaimed in their duets We Kiss in the Shadow and I Have Dreamed. Ms. Bowles and Mr. Martinez are not only gifted singers, they also provided the evening's clearest examples of how songs should be integrated into the acting. A wise director once said that songs in a musical should appear to be dialogue that is simply too powerful to say with just words. In the hands of these performers, the lyrics and melodies were emphatically that. They never lost sight of who they were singing to and what their words meant.
Lady Thiang (Beverly Tompkins), the King's number one wife, also deserves special mention for her reserved and wise portrayal of the go-between for Anna and the King, and whose song Something Wonderful was well received.
Two other very entertaining segments of the show involved the work of choreographer Elaine Dairo. In the second act, the members of the King's court stage Tuptim's adaptation of Uncle Tom's Cabin as a way of demonstrating their cultural development to a visiting English dignitary (Arnold Taplin). The result is a Kabuki ballet entitled “The Small House of Uncle Thomas”. Acting veteran Mary Rose dances the lead role of Eliza, pursued by the wicked Simon of Legree (Nat Barker) with his dogs and slaves, until she is finally rescued by the Angel George (Alexis Girona). At least a dozen other dancers helped to bring this lively skit to life while Tuptim and the Royal Wives spoke and sang the narrative. Very nicely done.
A second happy section of dance occurs later in the show as Anna convinces the King to try the polka in Shall We Dance. It is exuberant and lively, providing us with one of the dearest moments between these two characters. It was definitely a crowd-pleaser on opening night.
This review would not be complete without mention of the orchestra. Smithfield Little Theater often takes this uncommon step and gives local musicians a place in community theater. It is devilishly hard to craft a volunteer orchestra, and music director Trey Gwaltney and his musicians deserve much credit for their efforts. The musical performance was on par with the acting and provided a unique contribution for this production.
The King and I runs until May 23. Bring your memories – and be prepared to make some new ones.
For ticket information call 757-357-7338 or visit them on the web at www.smithfieldlittletheatre.com.
Copyright 2009 - David Adams
Originally published on May 5, 2009 for Iron Street Productions.
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