‘The King and I’: Awesome staging, excellent casting

Having earlier seen the stage and screen versions of “The King and I”, then watching it at Resorts World Manila, I might be expected to confirm the saying, “Familiarity breeds contempt”. Quite the contrary; the latest production gave me immense pleasure, delight – and surprise.

As the curtains opened to the arrival from England of Anna, who is to tutor the King of Siam’s children, I instantly held my breath. There were the glimmering waves, the harbor lights, the tri-dimensional towering sets by Carlo Manere and Andrew Botha that would tower even more amazingly as the musical progressed. I was soon to gape at the grandeur of the King’s palace, its ornate giant props and decor reflecting the King’s wealth, might and power. How ignore the huge, white, man-made elephant lumbering across the stage?

In their over-all concept, composer Rogers and librettist Hammerstein vividly convey the drastic contrasts between East and West, between the Orient’s social, cultural, political, traditional and moral values and those of the Occident. How eloquently would these differences be interpreted by the players themselves led by Menchu Lauchengco-Yulo as Anna and Nonie Buencamino as the King!

There is an initial sore point brought about by the King’s failure to provide a house for Anna as he had promised in his letter. Theirs is an unending battle between the sexes for a basic reason: the status of Western women is far above that of their Eastern counterpart. The confrontational dialogue becomes even more bitter when the King calls Anna his servant, a description that renders Anna utterly grief-stricken in the musical’s most heart-wrenching episode.

Nonie is moving, indeed compelling as the domineering, egoistic, presumptuous, vain and arrogant ruler (as most kings are). In a refined, subtle, sensitive manner, Menchu reveals herself as a firm, iron-willed Anna proud of her English heritage and, not the least, of her gender. She takes genuine delight in mentoring the King’s adorably disciplined children – all 16 of them! – who run with measured steps and constantly make servile obeisance to their father. What air of confidence are exuded by the young king-to-be Anton Posadas and the younger princess Alexi Rodriguez!

The musical has several charming episodes. One is created by Posadas and James Ketcher (as Anna’s son Louis) heatedly arguing and ending as friends. Another features Tanya Manalang as Tuptin – the slave girl whom the Prince of Burma gifts to the King of Siam – and Lorenz Marinez as Lun Tha in their clandestine romance, singing beautifully together or to each other. Further, how marvellously sung are all the musical numbers!

Although the synopsis does not directly express it, there is a strong suggestion that Anna has contributed to the King’s affliction (and eventual death). After Anna has desperately entreated the King not to thrash Tuptin (caught escaping from the Palace, first wife Lady Thiang (played by Gina Respall) rebukes Anna thus: “You have destroyed the King!”

There is likewise a suggestion that in his own crude, awkward manner, the King has romantic feelings toward Anna (which she fully reciprocates) this signified by his gifting her with a ring after their vibrant waltz in a highly heart-warming, enchanting sequence.

Imaginative and meticulous attention to the smallest detail was given to all aspects of the production: to the aforementioned stage settings justifiably claimed in the printed program as “of a magnitude and scale never before seen locally”; to the elegant costumes for Anna and the King designed by Rajo Laurel, and to the 300 spectacular, glittering, exotic costumes for the King’s attendants, wives, children and the dancers – creations of Aksana Sidarava.

Professional performances were given by supporting players Raymond Concepcion as the Prime Minister welcoming Anna; Arnel Carreon as Edward Ramsey, the English diplomat honored by the King at dinner; Richard Cunanan as the ship’s captain.

Philippine Ballet Theater dancers, admirably trained in his own choreography by Anatoly Panasyukov, were fluid, precise and gracefully wraith-like; Ranilo Jaynario served as artistic director. Musical accompaniment by the Manila Philharmonic Orchestra under Rodel Colmenar was flawless, in perfect rapport with singers and dancers. Freddie S. Santos, seasoned director, was assisted by Robbie Guevara.

It was the first presentation of Resorts World Manila I had witnessed, and I must conclude that the staging was awesome; the casting, excellent.