Something Wonderful

The King and I – Drury Lane

Love flows across the Drury Lane stage, thanks to Alan Paul’s wise and sensitive direction. Like most every show presented at this venue, Mr. Paul’s “The King and I” feels at once grand, and yet intimate and personal. Every detail, every moment of growing affection, often spiced with unexpected humor and brimming with a vibrant humanity, simply radiates with honest emotion. This mismatched couple’s journey from courteous respect to genuine caring ultimately develops into a restrained Victorian expression of love, all thanks to Mr. Paul’s caring and empathetic direction.

Throughout this bewitching musical classic from Broadway’s Golden Age, based upon Margaret Landon’s historically-based 1944 novel, Anna and the King of Siam, love winds its way through each scene and almost every song. Accompanied by her young son, Louis, Anna Leonowens, the prim and proper English schoolteacher, bravely travels to the Orient to accept a governess position for the Siamese King’s children. Despite being a recent widow, Anna is still a romantic and deeply in love with her departed husband. Lady Thiang, the King’s head wife, understands that her husband isn’t perfect; he’s polygamous and has many weaknesses, but she’s also very much in love with him, as well. Tuptim, the young Burmese slave girl, who’s given to the King as a gift, is sadly torn from her own lover, the young scholar, Lun Tha. And in spite of their tempestuous relationship, a respectful love that can never be acted upon develops between Anna and the King.

Rodgers & Hammerstein understood that, no matter the time period or locale, the popularity of their shows evolved from the love stories told through their words and music. In this musical, the composer and playwright have included a story of forbidden love between two of his minor characters, Tuptim and Lun Tha. This doomed relationship provided the romantic conflict that theatergoers came to expect. And, despite the initial rocky relationship between the Anna and the King, the manner in which Mr. Paul has staged and guided his two talented actors throughout each scene allows the audience to witness their journey toward a platonic love, right up to the show’s stunning, heartbreaking finale.

Alan Paul has a handsome and talented cast to tell this story. Returning to her Chicago roots, suburban-born-and-raised Broadway actress Betsy Morgan, whose beautiful and stylish Anna embraces every subtle nuance, and whose clear diction and lovely, expressive voice caresses each song, masterfully carries off the role created by the legendary Gertrude Lawrence. For fans of the classic movie version of this musical, Ms Morgan bears a strong resemblance to Deborah Kerr. Navigating the stage with poetic grace and elegant sophistication, peppered with an air of independence and plenty of spunk, Ms Morgan makes this iconic lady in the giant hoop-skirts her very own. 

She’s matched scene-for-scene by a bold, handsomely sexy King, played with virility and majestic command by New York actor Adam Jacobs. He sports an impressive resume, including having created the title role in Disney’s “Aladdin,” and dazzling audiences in Chicagoland at the Marriott, particularly as Will Shakespeare in their production of “Something Rotten.” Here Mr. Jacobs’ portrayal of this all-powerful monarch, whose enthusiasm for scientific scholarship and wisdom frequently collides with his ego, is nothing short of genius. He creates a man whose personality continues to evolve throughout the play, while coping with and being drawn to this challenging, intelligent and attractive woman. Mr. Jacobs makes this King far more engrossing than those seen in most productions. His King, who’s the heart of this show, is imposing, unbending and still completely human.

The supporting cast brings gorgeous voices, graceful movement and commanding performances to the ensemble. Lovely, multitalented Chicago actress Christine Bunuan, who recently beguiled Northlight Theatre audiences in “Mr. Dickens’ Hat,” as well as ripping our hearts out in the heartfelt role of Gigi in the 30th Anniversary Broadway Tour of “Miss Saigon,” creates a beautiful and wise Lady Thiang. Her radiant voice makes her touching rendition of “Something Wonderful,” indeed, something wonderful. The golden-voiced duo of Paulina Yeung and Ethan Le Phong are each absolutely exquisite in the roles of Tuptim and Lun Tha. Both actors are making their notable Drury Lane debuts. All three actors create perfectly-performed, well-rounded characters, and they sing Richard Rodgers’ music as if born to play these roles. Ms Yeung’s peerless performance of “My Lord and Master,” and the young lovers’ duets, “We Kiss in a Shadow” and the magnificent “I Have Dreamed,” are romantic with a touch of melancholy. 

Two more talented Chicago actors, each with impressive resumes, also make their Oakbrook Terrace debuts. Karmann Bajuyo, a masterclass in powerful acting, makes the Kralahome a finely-executed, but stern, presence in Anna’s life. Victor Holstein splits his stage time as a finely-spoken, Scottish Captain Orton and the charming, polished British dignitary, Sir Edward Ramsey. Mr. Holstein subtly challenges the King for the governess’ affections, upon his arrival in Siam, while cutting quite a dashing figure.

The children are, naturally, all angelic and affecting, particularly young Braden Crothers, as Anna’s son Louis, and, as Crown Prince Chulalongkorn, the terrific Matthew Uzarraga (last seen at Drury Lane as Gavroche in “Les Miserables”). Both young actors effortlessly leave their stamp upon their scenes, with Mr. Uzarraga creating a perfect, pint-sized version of his father, the King. In the play’s final, tear-filled moments, as the Prince inherits his new title, we hear his governess’ voice in his first proclamations that herald the beginnings of a new era in Siam.

Darren Lee, much of whose choreographic talent has been enjoyed in venues all over New York City, creates a montage of simple, but elegant movement for numbers like “Getting to Know You” and “Shall We Dance.” Where his choreographic talents really shine are, of course, in the musical’s balletic showpiece, “The Small House of Uncle Thomas.” Narrated by Tuptim, and uniquely introduced with marionette puppets, much credit must go to the show’s exquisitely talented dancers. They include Rika Nishikawa as Uncle Thomas, Ayana Strutz as Topsy, Michiko Takemasa as Little Eva, Kenway Hon Wai K Kua as Simon of Legree, and especially Kristine Bendul as Eliza and Kevin Kulp as Angel George, as well as a host of other singers and dancers.       

The requisite visual beauty, opulence and splendor of King Mongkut’s Siamese palace falls to co-scenic designers, Wilson Chin and Riw Rakkulchon. They create the essence and simplicity of Thai Buddhism through an openness, highlighted by pillars, platforms and sliding, lattice-work panels. Once again the incomparable costumer Izumi Inaba has outdone herself with a stunning wardrobe of colorful, breathtaking period attire, ranging from Anna’s heavy, multilayered hoop-skirted creations, including a gorgeous pink satin ball gown for “Shall We Dance,” to the more delicate silks and satin brocades for the large ensemble of Siamese citizens. The production is perfectly lit by Eric Southern, creating proper mood and atmosphere; and Emily Young’s hair and wig designs help transform her cast into believable, authentic Victorian era characters.

Everything about this sublime production deserves a standing ovation.Tim Laciano’s detailed musical direction, as evidenced both by the voices of his 33-member cast and in his full-sounding, 7-member pit orchestra, does this Rodgers & Hammerstein classic proud. Whether the audience is revisiting this lovely, timeless tale of culture shock and romance, or enjoying a first-time encounter with Anna and her King, the Drury Lane’s melodic, visually stunning, handsomely executed production of this American classic is both affectionate and moving. Praise to Buddha and a sweeping bow of gratitude must go to one of Chicagoland’s most consistently excellent theatre companies for this celebration of love and Something Wonderful.

Highly Recommended

Reviewed by Colin Douglas

Presented April 1-May 22 by Drury Lane Theatre, 100 Drury Lane, Oakbrook Terrace, Chicago.

Tickets are available by calling the box office 630-530-0111 or by going to www.DruryLaneTheatre.com.

Additional information about this and other area shows may be found at www.theatreinchicago.com.