It’s quite astonishing that a musical which first hit the stage over 72 years ago is getting a new lease on life. The King & I which premiered on Broadway March 29th, 1951, is currently playing at The Dominion Theatre till March 2nd but is it still proving to be a hit with audiences after all these years?

Based on Margaret Landons semi-fictionalized biographical novel ‘Anna and the King of Siam’. We follow the story of a head strong, widowed schoolteacher; Anna Leonowens who is invited by the King of Siam to teach some of his (many) children.

Helen George gives a sublime performance as Anna, which was worlds away from her well-known performance of Trixie in Call the Midwife. Her vocal range was something to be admired showcasing vulnerability and anger in equal measures. This was a stark contrast to Darren Lee’s boisterous, stage-filling performance as the King of Siam. His ability to act through song was a driving force in portraying the struggle of being King to a country that is at a crossroads on where its alliance lies.

Every relationship felt truthful and there was one particular number ‘We Kiss in the Shadows’ which showcased a gorgeous moment between two forbidden lovers: Tuptim and Lun Tha. Dean John-Wilson’s delicious vocals which were perfectly partnered by Marienella Phillips’ delicate, songbird like voice was a worthy rendition of a much loved duet.

The most captivating performance of the night was Cezarah Bonner’s heart wrenching portrayal of Lady Thiang and her effortless rendition of ‘Something Wonderful’ was a perfect way to end Act One.

A special mention must be said for the young cast members who portray Anna’s and the Kings children. They all deliver impressive performances, matching the standard of the adult performances in the show.

The ensemble are particularly faultless and the backbone to the epic scale of the show. The BIG showstopping number for me was the ‘The Small House of Uncle Thomas’ – Ballet. You cannot fault the vocals, gripping storytelling and Christopher Gattelli’s inventive choreography.

Bartlett Sher directs a grand and highly energetic spectacle. Full of big musical numbers, which contrast nicely to the softer emotional scenes. They’ve obviously budgeted for a big scale production, fronted by Michael Yeargan who was aided by an outstanding orchestra led by Robert Russell Bennett. Together they create a magnificent world in which we were mere visitors through elaborate set designs and waves of beautiful scores.

The cast members are undeniably multi-talented and have put a tremendous amount of love and time into this production. I do believe the story is a little outdated, but the lyrics, music and choreography will cement this musical as a timeless CLASSIC etc etc etc….

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