Miracle on 34th Street and Winter on Broadway
The North Shore Tab Reviews The King and I
REVIEW -- It doesn’t get any better than this! North Shore Music Theatres production of Rodgers and Hammerstein’s’ 1951 classic, “The King & I” starring Lorenzo Lamas.
What this production does feature is a fantastic cast, with leads that are all musically strong. Lamas is masterful as the king, with a voice so rich you could melt into it, complemented by superb acting. Kate Fisher’s voice has an angelic tone that shines in great numbers like “Getting To Know You,” “Shall We Dance” and the beautiful ballad “Hello, Young Lovers.” The two together are electric.
The young renegade lovers (Tuptim & Lun Tha) are beautifully played by Manna Nichols and Joshua Dela Cruz. The other notable performance was of Lisa Yuengives as the king’s first wife, Lady Thiange. She sang and acted with beauty and grace and her solo song “Something Wonderful” was stirring.
The Costume’s were especially colorful for the King and his court, with sumptuous silk dresses, robes and trousers in jewel tones, adorned with gold braid and embroidery. Anna’s subdued Victorian gowns made an interesting contrast.
If you haven’t returned to the theatre in the round yet this season then this is the show not to miss!
The King & I continues at North Shore Musical Theatre until October 9th. For ticket information log on to www.nsmt.org or call (978) 232-7200
What this production does feature is a fantastic cast, with leads that are all musically strong. Lamas is masterful as the king, with a voice so rich you could melt into it, complemented by superb acting. Kate Fisher’s voice has an angelic tone that shines in great numbers like “Getting To Know You,” “Shall We Dance” and the beautiful ballad “Hello, Young Lovers.” The two together are electric.
The young renegade lovers (Tuptim & Lun Tha) are beautifully played by Manna Nichols and Joshua Dela Cruz. The other notable performance was of Lisa Yuengives as the king’s first wife, Lady Thiange. She sang and acted with beauty and grace and her solo song “Something Wonderful” was stirring.
The Costume’s were especially colorful for the King and his court, with sumptuous silk dresses, robes and trousers in jewel tones, adorned with gold braid and embroidery. Anna’s subdued Victorian gowns made an interesting contrast.
If you haven’t returned to the theatre in the round yet this season then this is the show not to miss!
The King & I continues at North Shore Musical Theatre until October 9th. For ticket information log on to www.nsmt.org or call (978) 232-7200
Sampan Reviews The King and I
The current North Shore Musical Theater production of the Rodgers and Hammerstein’s musical “King and I” is back after a 25 year absence under the superb direction of Richard Stafford. Largely known for his role as Lance in “Falcon Crest,” Lorenzo Lamas is an international television, film and stage star and stars as the King of Siam. The show runs until Sunday, October 9th.
The simple but elaborate set immediately sweeps the audience into Anna’s world as she is bound to Siam (current day Thailand) to become the English teacher for the King of Siam’s favored wives and children at the cost of 20 English Sterling Pounds a month. In Siam, Anna makes a fresh start in a new country, its culture and learning palace life. The lovely musical score includes audience favorites such as “Getting to Know You,” “Shall We Dance,” and “I Whistle A Happy Tune.” The choreography by Director Richard Stafford was breathtakingly beautiful and elegantly executed throughout the musical that dazzled the eye.
Overall, this beautiful production was well done; from the gorgeous costumes and choreography. Kudos also goes to the talented cast from the King all the way down to his youngest daughter adorably played by scene stealer and Sampan Columnist Michael Tow’s five-year-old daughter Mikayla Tow. His other daughter Alana plays Princess Yaowlak. Gloucester native Giacomo Favazza is brilliant as Anna’s son Louis and he hits his high notes well. As crown Prince Chulalongkorn, Ellis Gage mixes the right amount of arrogance, childishness and maturity all rolled into one. The other children as well as the King’s other wives are great.
Lorenzo Lama’s interpretation of the King of Siam masterful as the conflicted, masculine leader frustrates our heroine at every turn. Anna Leonowens is brilliant and outstandingly played by Kate Fisher. She imbues Anna with a feistiness that always desires to defy the King but somehow learns to compromise with him. Both complement each other very well.
Manna Nichols shined as Tuptim with her beautiful voice and demeanor. The audience could feel her despair from not being able to be with her beloved. The Kralahome is wonderfully acted by Mel Sagrado Maghuyop by making every word and expression count. Whenever he was on stage, his presence commanded your attention. Lady Thiang (mother of the Crown Prince) elegantly portrayed by Lisa Yuen. The rest of the cast and the ensemble rounded out this wonderful production with solid performances. NSMT consistently puts on high caliber productions and this one continues that tradition.
The simple but elaborate set immediately sweeps the audience into Anna’s world as she is bound to Siam (current day Thailand) to become the English teacher for the King of Siam’s favored wives and children at the cost of 20 English Sterling Pounds a month. In Siam, Anna makes a fresh start in a new country, its culture and learning palace life. The lovely musical score includes audience favorites such as “Getting to Know You,” “Shall We Dance,” and “I Whistle A Happy Tune.” The choreography by Director Richard Stafford was breathtakingly beautiful and elegantly executed throughout the musical that dazzled the eye.
Overall, this beautiful production was well done; from the gorgeous costumes and choreography. Kudos also goes to the talented cast from the King all the way down to his youngest daughter adorably played by scene stealer and Sampan Columnist Michael Tow’s five-year-old daughter Mikayla Tow. His other daughter Alana plays Princess Yaowlak. Gloucester native Giacomo Favazza is brilliant as Anna’s son Louis and he hits his high notes well. As crown Prince Chulalongkorn, Ellis Gage mixes the right amount of arrogance, childishness and maturity all rolled into one. The other children as well as the King’s other wives are great.
Lorenzo Lama’s interpretation of the King of Siam masterful as the conflicted, masculine leader frustrates our heroine at every turn. Anna Leonowens is brilliant and outstandingly played by Kate Fisher. She imbues Anna with a feistiness that always desires to defy the King but somehow learns to compromise with him. Both complement each other very well.
Manna Nichols shined as Tuptim with her beautiful voice and demeanor. The audience could feel her despair from not being able to be with her beloved. The Kralahome is wonderfully acted by Mel Sagrado Maghuyop by making every word and expression count. Whenever he was on stage, his presence commanded your attention. Lady Thiang (mother of the Crown Prince) elegantly portrayed by Lisa Yuen. The rest of the cast and the ensemble rounded out this wonderful production with solid performances. NSMT consistently puts on high caliber productions and this one continues that tradition.
The Hub Review's Report on The King and I
When theatrical entrepreneur Bill Hanney saved the North Shore Music Theatre a few years back, I didn't realize he was saving the traditional musical, too. But that is, in effect, what he has done. Not that the NSMT is devoted entirely to the classics - but still, about half the season every year remains safe from the likes of Tarzan and Footloose. For which I, and the graying, sold-out house at the North Shore last Sunday, will be, I think, eternally grateful.vOr at least we will be as long as what's onstage is as transporting as the current production of The King and I (which only plays through this weekend). On paper, I know what it sounds like: aging Falconcrest hunk Lorenzo Lamas aping Yul Brynner, and somebody you've never heard of trying to channel Deborah Kerr, in a lotta glittery costumes from somebody's warehouse somewhere. But in person, on stage, trust me, it's something wonderful.
Although I confess, I too was skeptical (at first) of old Lorenzo. I was never a Falconcrest fan (!), and I must report he can only boast about the same singing voice as Brynner - and while the ladies of the house were pleased to see he's still pretty pec-tacular, I felt he didn't quite have the sheer physical charisma which Yul made synonymous with the role. But Lamas kind of sneaks up on you with a performance that's craftier, and wittier, than you expect - by the curtain, you may look at him with newfound respect.
And given that he is surrounded by a truly superb cast, that's saying something. I won't bother you with the plot - you should already know it, for heaven's sake - but I will say that this is one of my favorite Rodgers and Hammerstein musicals; its book is punchy and compact, the music is one of Rodgers's most ravishing achievements, and it includes one of musical theatre's most charming sequences, Jerome Robbins' ballet "The Small House of Uncle Thomas." And all these virtues all but pop in director Richard Stafford's thoughtfully rendered production, which generally tailors the action well to the North Shore's arena stage.
In what is actually the leading role (Brynner won the Tony for "Featured Actor"), Kate Fisher is, to put it simply, just about perfect. Her take on Anna Leonowens, the proper young teacher who arrives in Siam to teach the King's children (and spar with him over human rights and romance), may not break any new artistic ground, but Fisher still colors the role with her own personality (this is an Anna far more frustrated than Deborah Kerr ever was) and sings in an enchanting style that channels the young Julie Andrews - just listen to the YouTube above if you doubt me.
There's equally strong work across the board in the supporting roles. Lisa Yuen conjured a subtle and sympathetic Lady Thiang, and as the kingdom's major domo, Mel Sagrado Maghuyop proved such a spitfire that the ladies around me were surprised to discover he wasn't actually the King. The singing honors, however, had to go to the gorgeous warbling of Manna Nichols and Joshua Dela Cruz (at left, and above) who as the star-crossed lovers Lun Tha and Tuptim took Rodgers standards like "We Kiss in a Shadow" into the vocal stratosphere. Alas, the orchestral playing, under the direction of Craig Barna, wasn't quite in their league, but was nevertheless always solid, if not quite bewitching.
But wait, there were even more sharp performances around the edges of the show: Ron Wisniski contributed two delightful turns as British Empire types, and local boys Jack Favazza and Ellis Gage both distinguished themselves as Anna's son and the crown prince, respectively.
Meanwhile the costumes, by Paula Ninestein, were indeed glittery and very beautiful, and Eric D. Diaz's spare scenic design (and strikingly painted floor) conveyed more atmosphere than you had any right to expect. And then there was the exquisite dancing in "The Small House of Uncle Thomas," which painstakingly re-created the original Robbins choreography in the NSMT arena. I suppose I should warn politically-correct types that this mid-fifties mash-up of ethnicities (yes, in the movie, which you can watch on YouTube, Latinos played Asians playing African-Americans) could strike you as, well, "a failure of understanding," as folks like to say today. So by all means, if you are like that, you should probably stay home and spend the evening patting yourself on the back; although I will note this fun fact: the real, rather imaginative Anna Leonowens wasn't quite the proper Brit she pretended to be - she was actually Anglo-Indian, so an A.R.T.-style production of The King and I could be in the offing someday! But in the meantime, everyone with a mature sense of cultural history and an appreciation for the arts should rush out to catch this pain-staking revival of one of the most moving and humane examples of musical theatre ever created.
The Bay State Banner Reviews The King and I
This review didn't mention the younger child actors, but does delve deeper into the real people that the play is based on, so it makes for an interesting read!
When Anna Leonowens arrived at the court of King Mongkut (Rama IV) in the early 1860’s, slavery and inequality ruled Thailand- then Siam - as much as the United States. The now renown governess would later write about teaching many of the monarch’s children and wives English and British customs.
Her five years in Siam had a great impact on modernizer Mongkut - known as “The Father of Science and Technology” - and his son Chulalongkorn(Rama V), who eventually abolished all slavery there in 1905. Rodgers and Hammerstein turned the turbulent relationship of Anna and Mongkut into one of their finest musicals “The King and I,” now in a very solid revival at Beverly’s North Shore Music Theatre (through Sunday).
The tuneful 1951 show turned that relationship into a dramatic and still-timely musical that speaks volumes about equality and the power of education and understanding to bring change. Director Richard Stafford has wisely focused on these themes in a sharply paced revival.
At a time when opportunities and fair wages for African American men and women are still a matter of great concern, Anna’s insistence on a house of her own instead of quarters in the palace and her rightful dissatisfaction with a paltry salary should continue to resonate strongly.
At the same time, while conditions in America have improved considerably from what abolitionist Harriet Beecher Stowe described in her then pioneering work “Uncle Tom’s Cabin,” the dramatization of the book by Tuptim and other wives of the King does provide a timely reminder that the war against prejudice and inequality has been a long and formidable one.
All of the musical’s rich combination of Thai customs, vivid characters and serious attention to human rights issues proves compelling and entertaining in the NSMT’s engaging revival. Lorenzo Lamas may lack the initimidating qualities of Yul Brynner as the King in the early going, but he does persuade as Mongkut debates various issues with Anna.
Lamas also displays a pleasant singing voice during the monarch’s signature solo “A Puzzlement.” He is also quite graceful in duet with Kate Fisher as Anna in the musical’s famous waltz number “Shall We Dance?” Fisher is simply wonderful as Anna - properly feisty with the King and dynamic as a teacher. She sings with great feeling and sweetness - most notably on “Hello,Young Lovers.”
Fisher is the kind of large talent that North Shore Music Theatre should turn into a returning regular-like big-voiced George Dvorsky,who revisited strongly as the minister in the company’s recent revival of “Footloose.”
Manna Nichols as Tuptim and Joshua Dela Cruz as Lun Tha sing robustly in the moving duet “I Have Dreamed “ as ill-fated lovers. Giacomo Favazza has the right energy as Anna’s plucky son Louis, and Ellis Gage finds the right imperiousness and vulnerability as Prince Chulalongkorn, who will eventually succeed his father on the throne of Siam. Lisa Yuen has good authority as first wife Lady Thiang. African American actress-dancer Maxine Stewart, a B.F.A. graduate of Emerson College, demonstrates strong turns and singular gracefulness during Tuptim’s memorable ballet adaptation of Stowe’s book entitled “The Small House of Uncle Thomas.”
One of the most famous numbers in “The King and I” is the cheery schoolroom song “Getting to Know You.” NSMT’s winning revival ought to have adults and children alike befriending the Beverly showplace.
The King and I, North Shore Music Theatre, Beverly, through October 9. 978-232-7200 or nsmt.org.
Her five years in Siam had a great impact on modernizer Mongkut - known as “The Father of Science and Technology” - and his son Chulalongkorn(Rama V), who eventually abolished all slavery there in 1905. Rodgers and Hammerstein turned the turbulent relationship of Anna and Mongkut into one of their finest musicals “The King and I,” now in a very solid revival at Beverly’s North Shore Music Theatre (through Sunday).
The tuneful 1951 show turned that relationship into a dramatic and still-timely musical that speaks volumes about equality and the power of education and understanding to bring change. Director Richard Stafford has wisely focused on these themes in a sharply paced revival.
At a time when opportunities and fair wages for African American men and women are still a matter of great concern, Anna’s insistence on a house of her own instead of quarters in the palace and her rightful dissatisfaction with a paltry salary should continue to resonate strongly.
At the same time, while conditions in America have improved considerably from what abolitionist Harriet Beecher Stowe described in her then pioneering work “Uncle Tom’s Cabin,” the dramatization of the book by Tuptim and other wives of the King does provide a timely reminder that the war against prejudice and inequality has been a long and formidable one.
All of the musical’s rich combination of Thai customs, vivid characters and serious attention to human rights issues proves compelling and entertaining in the NSMT’s engaging revival. Lorenzo Lamas may lack the initimidating qualities of Yul Brynner as the King in the early going, but he does persuade as Mongkut debates various issues with Anna.
Lamas also displays a pleasant singing voice during the monarch’s signature solo “A Puzzlement.” He is also quite graceful in duet with Kate Fisher as Anna in the musical’s famous waltz number “Shall We Dance?” Fisher is simply wonderful as Anna - properly feisty with the King and dynamic as a teacher. She sings with great feeling and sweetness - most notably on “Hello,Young Lovers.”
Fisher is the kind of large talent that North Shore Music Theatre should turn into a returning regular-like big-voiced George Dvorsky,who revisited strongly as the minister in the company’s recent revival of “Footloose.”
Manna Nichols as Tuptim and Joshua Dela Cruz as Lun Tha sing robustly in the moving duet “I Have Dreamed “ as ill-fated lovers. Giacomo Favazza has the right energy as Anna’s plucky son Louis, and Ellis Gage finds the right imperiousness and vulnerability as Prince Chulalongkorn, who will eventually succeed his father on the throne of Siam. Lisa Yuen has good authority as first wife Lady Thiang. African American actress-dancer Maxine Stewart, a B.F.A. graduate of Emerson College, demonstrates strong turns and singular gracefulness during Tuptim’s memorable ballet adaptation of Stowe’s book entitled “The Small House of Uncle Thomas.”
One of the most famous numbers in “The King and I” is the cheery schoolroom song “Getting to Know You.” NSMT’s winning revival ought to have adults and children alike befriending the Beverly showplace.
The King and I, North Shore Music Theatre, Beverly, through October 9. 978-232-7200 or nsmt.org.
Boston Event Insider Reviews the King and I
Only one of the kids was singled out, but he certainly earned it!
I must also give kudos to Giacomo Favazza, who plays Anna's son, a child actor who has incredible energy and focus.
In the 1860s, Anna, a widowed English schoolteacher, moves to Thailand. Her job is to tutor the king's son... but the king gets quite a lesson as well. It's the Tony award-winning musical by Rodgers and Hammerstein, an original production now playing at the North Shore Music Theatre (NSMT).
Although the movie Anna and the King is a romance between Anna and the King, the original musical is more a romance between two cultures: British and Thai. Anna has to get used to keeping her head lower than the king's. The Thai present a play within the play of "Uncle Tom's Cabin" in a perhaps overlong sequence that is rich with comic misinterpretations of American life.
Throughout, the musical is filled with memorable music. You've surely heard the tune for "Getting to Know You" and "I Whistle a Happy Tune", and I found myself humming the songs to myself all week -- surely the sign of a good musical. The turning point of the story is when a British ambassador visits to hear if the rumors are true that the King of Siam is a barbarian. Surrounded by unfriendly countries, the King is eager to make a good impression... making the musical a bit of My Fair Lady with the genders reversed.
And the story suffers from the same drawbacks of Pymgalion, the play that My Fair Lady comes from. Both stories are dated with misogyny which the male characters don't overcome. I don't think I'll spoil the story by saying that the King never gives up his throne and founds a true democracy, and the Anna never gives up that British sense of cultural superiority.
Still, it's a story with a strong female lead that is played well. Lorenzo Lamas as The King projects masculinity and strength, but Anna, played by Kate Fisher, generally steals each scene. Since this production was self-funded by the North Shore Music Theatre, there was not much time to rehearse, and yet her nuances add levels to the performance and draw you in to what her character is thinking. I must also give kudos to Giacomo Favazza, who plays Anna's son, a child actor who has incredible energy and focus. My favorite among the supporting cast was Joshua Dela Cruz, who as Lun Tha (the male component of a Romeo & Juliet subplot in the play) instantly captured the stage in his initial scene. At first I thought I must be imagining this strength of singing and pure love projected through body language, but the friends I was with also named Dela Cruz as their favorite supporting cast member without any prompting.
Of course, the NSMT's own production doesn't come with the enormous sets and production value of a touring Broadway show. The staging was simple, but the lighting and costuming made up for it -- you'll never get tired of the many changes of costume, with the Uncle Thomas scene being the highlight. The choreography of the limited dance numbers also draws you in. It is easy to get immersed into the fascination that Asia held for Americans and Europeans in the 1860s. That fascination is ultimately the real star of the show. Of course, production value comes from the NSMT's own venue. As an official fat person who measure 6 foot 4 inches, I can say with gratitude that the chairs are comfortable, and the circular stage ringed with seating means that there is no bad seat in the house and the cast doesn't have to awkwardly face front all the time, since there is no 'front'.
So, a slightly dated story, yet with wonderful cultural highlights, and a production that is new but I could easily imagine adding more depth if they performed for many weeks. I am glad to give "The King & I" 4 stars out of 5 and recommend you check out the upcoming A Christmas Carol playing at the NSMT in December.
Although the movie Anna and the King is a romance between Anna and the King, the original musical is more a romance between two cultures: British and Thai. Anna has to get used to keeping her head lower than the king's. The Thai present a play within the play of "Uncle Tom's Cabin" in a perhaps overlong sequence that is rich with comic misinterpretations of American life.
Throughout, the musical is filled with memorable music. You've surely heard the tune for "Getting to Know You" and "I Whistle a Happy Tune", and I found myself humming the songs to myself all week -- surely the sign of a good musical. The turning point of the story is when a British ambassador visits to hear if the rumors are true that the King of Siam is a barbarian. Surrounded by unfriendly countries, the King is eager to make a good impression... making the musical a bit of My Fair Lady with the genders reversed.
And the story suffers from the same drawbacks of Pymgalion, the play that My Fair Lady comes from. Both stories are dated with misogyny which the male characters don't overcome. I don't think I'll spoil the story by saying that the King never gives up his throne and founds a true democracy, and the Anna never gives up that British sense of cultural superiority.
Still, it's a story with a strong female lead that is played well. Lorenzo Lamas as The King projects masculinity and strength, but Anna, played by Kate Fisher, generally steals each scene. Since this production was self-funded by the North Shore Music Theatre, there was not much time to rehearse, and yet her nuances add levels to the performance and draw you in to what her character is thinking. I must also give kudos to Giacomo Favazza, who plays Anna's son, a child actor who has incredible energy and focus. My favorite among the supporting cast was Joshua Dela Cruz, who as Lun Tha (the male component of a Romeo & Juliet subplot in the play) instantly captured the stage in his initial scene. At first I thought I must be imagining this strength of singing and pure love projected through body language, but the friends I was with also named Dela Cruz as their favorite supporting cast member without any prompting.
Of course, the NSMT's own production doesn't come with the enormous sets and production value of a touring Broadway show. The staging was simple, but the lighting and costuming made up for it -- you'll never get tired of the many changes of costume, with the Uncle Thomas scene being the highlight. The choreography of the limited dance numbers also draws you in. It is easy to get immersed into the fascination that Asia held for Americans and Europeans in the 1860s. That fascination is ultimately the real star of the show. Of course, production value comes from the NSMT's own venue. As an official fat person who measure 6 foot 4 inches, I can say with gratitude that the chairs are comfortable, and the circular stage ringed with seating means that there is no bad seat in the house and the cast doesn't have to awkwardly face front all the time, since there is no 'front'.
So, a slightly dated story, yet with wonderful cultural highlights, and a production that is new but I could easily imagine adding more depth if they performed for many weeks. I am glad to give "The King & I" 4 stars out of 5 and recommend you check out the upcoming A Christmas Carol playing at the NSMT in December.
Independent Newspaper Co Reviews The King and I
Everyone really seems to love The March of the Siamese Children, well all of the choreography and the kids!
And the children - I mustn't forget the children, who are especially delightful in their march before Anna and in "Getting to Know You". Ellis Gage as heir apparent Prince Chulalongkorn and Giacomo Favazza as Anna's son Louis are also spotlight-stealers. However, I wondered about two adorable little girls whose arms are interlocked as Siamese twins - whether they're metaphoric.
Either way, from overture to finale, NSMT's production of "The King and I" is dazzling.
Reviewed by Sheila Barth
INDEPENDENT NEWSPAPER CO
October 4, 2011
The North Shore Music Theatre (NSMT) in Beverly has struck oil again, this time with its lavish, resplendent production of "The King and I," that closes Oct. 9. This two-act extravaganza in-the-round, helmed and exquisitely choreographed by super-talented Richard Stafford, is a royal banquet for the senses. Paula Peasley Ninestein has coordinated an array of magnificent glittering, eye-popping costumes, masks and headdresses, while Christopher Evans‘ sounds and Jack Mehler's lighting enhance Erik D. Diaz's effective sets.
This team glows during the ballet troupe and Manna Nichols' gorgeous re-enactment of "The Small House of Uncle Thomas," (Harriet Beecher Stowe's "Uncle Tom's Cabin").
Although Lorenzo Lamas, (son of handsome silver screen star, Fernando Lamas, and gorgeous actress-beauty queen, Arlene Dahl), is an outstanding talent in his own right, he isn't your typical king of Siam (think Yul Brynner). He's tall, dark, sleek, and handsome, strutting with a regal swagger, but his dark hair, large tattoos, and passable voice belie this larger-than-life character. ‘Tis a puzzlement, given Lamas has successfully portrayed this role before. He's also a well-known TV, stage, screen actor, singer, producer, and director.
Lamas emerges more powerfully in the second act, interacting with leading lady, Kate Fisher as Anna Leonowens, strong-willed, widowed Englishwoman who comes to Siam with her young son, Louis, to teach English and western culture to some of the King's 67 children (and quickly multiplying) and his wives. Anna also provides help with foreign correspondence, knowledge and advice.
Lamas and Fisher are surrounded by talented co-stars and a charming children's ensemble.
The 10-piece orchestra, led by Conductor Craig Barna, is fantastic, opening with a stirring overture. The musicians are strong and splendid, especially in large ensemble numbers, such as "Getting to Know You," but play softly enough to support solos and duets.
Fisher's nostalgic rendition/reprise of "Hello, Young Lovers," and Manna Nichols as Tuptim and Joshua Dela Cruz as her doomed young lover, Lun Tha, are sweetly romantic in "We Kiss in a Shadow," and "I Have Dreamed". Their chemistry is something wonderful. So is Lisa Yuen as the king's no. 1 wife, Lady Thiang. Explaining to an agitated Anna her devotion to the king, Lady Thiang delivers a moving solo of "Something Wonderful".
And the children - I mustn't forget the children, who are especially delightful in their march before Anna and in "Getting to Know You". Ellis Gage as heir apparent Prince Chulalongkorn and Giacomo Favazza as Anna's son Louis are also spotlight-stealers. However, I wondered about two adorable little girls whose arms are interlocked as Siamese twins - whether they're metaphoric.
Either way, from overture to finale, NSMT's production of "The King and I" is dazzling.
BOX INFO: Two-act, award-winning, classic musical written by Richard Rodgers and Oscar Hammerstein II, starring Lorenzo Lamas, appearing through Oct. 9 at the North Shore Music Theatre, (NSMT), 62 Dunham Road, Beverly. Revere's Brandon Barbosa, 9, performs with the children's ensemble. Performances are Tuesday-Thursday at 7:30 p.m.; Friday, Saturday, 8 p.m.; matinees, Wednesday, Saturday, Sunday, at 2 p.m. Tickets,$36-$65. Visit www.nsmt.org, or the Box Office, or call 978-232-7200.
The Boston Globe Reviews The King and I
Although.... 4 of the kids do transform themselves into a skirt... and later a slightly different set of 4 become clouds and snow in the ballet ;)
Director Richard Stafford builds his production with a sense of flow between the individual scenes, solos, and production numbers, always making the musical feel like an ensemble piece rather than a vehicle for a star. He also manages to choreograph the “March of the Siamese Children’’ efficiently, and integrates the children into the action without reducing them to props.
BEVERLY - First things first: Fans of ’80s TV hunk Lorenzo Lamas (“Falcon Crest") can rest easy. The star of the North Shore Music Theatre’s current production of “The King and I" still looks buff, even with his famous locks cropped close for the role of the King of Siam. Better still, onstage Lamas is more than a pretty face, with a strong stage presence and a decent singing voice, and he delivers his King with just the right balance of arrogance and charm.
Lamas has to work at the top of his game because he’s playing opposite Kate Fisher, an actress with a breathtaking voice and an easy confidence, despite having to prance around in a giant hoop skirt. Fisher is Anna, the determined English widow employed by the king in the 1860s to teach his children about the world beyond their isolated kingdom. Anna is a complicated character: a mother, a teacher, and a woman still tempted by the possibilities of romance, and although it can’t be easy to find a fresh way to sing “Whistle a Happy Tune" and “Getting to Know You," Fisher makes them believable.
One of the elements of “The King and I" that keeps it from becoming a museum piece is composer Richard Rodgers and lyricist Oscar Hammerstein’s appreciation of the issues of feminism, totalitarianism, and tolerance that were a part of “Anna and the King of Siam," Margaret Landon’s book on which the musical is based. The fact that Rodgers and Hammerstein are able to build both character and story through such songs as “Hello, Young Lovers, “We Kiss in a Shadow," and “Something Wonderful" is simply extraordinary. Because they are successful at it, the plight of a pair of doomed lovers is as poignant as the story of the teacher and the king. Of course it doesn’t hurt that the young lovers are portrayed by Manna Nichols and Joshua Dela Cruz, who not only have glorious voices, but make us hope for their love even though we know it’s impossible.
Director Richard Stafford builds his production with a sense of flow between the individual scenes, solos, and production numbers, always making the musical feel like an ensemble piece rather than a vehicle for a star. He also manages to choreograph the “March of the Siamese Children" efficiently, and integrates the children into the action without reducing them to props. Stafford does struggle a bit with North Shore’s arena staging, and Lamas in particular seems forced to pace in circles, stopping to plant himself on set pieces strategically located at different areas of the stage. Stafford is much more successful with his choreography, which always feels like it emerges organically from the center of the stage and then spreads outward.
With a first-rate company and a direct, unadorned production, the North Shore’s “The King and I" finds both the musical heart and the compelling moral compass in Rodgers and Hammerstein’s musical.
Lamas has to work at the top of his game because he’s playing opposite Kate Fisher, an actress with a breathtaking voice and an easy confidence, despite having to prance around in a giant hoop skirt. Fisher is Anna, the determined English widow employed by the king in the 1860s to teach his children about the world beyond their isolated kingdom. Anna is a complicated character: a mother, a teacher, and a woman still tempted by the possibilities of romance, and although it can’t be easy to find a fresh way to sing “Whistle a Happy Tune" and “Getting to Know You," Fisher makes them believable.
One of the elements of “The King and I" that keeps it from becoming a museum piece is composer Richard Rodgers and lyricist Oscar Hammerstein’s appreciation of the issues of feminism, totalitarianism, and tolerance that were a part of “Anna and the King of Siam," Margaret Landon’s book on which the musical is based. The fact that Rodgers and Hammerstein are able to build both character and story through such songs as “Hello, Young Lovers, “We Kiss in a Shadow," and “Something Wonderful" is simply extraordinary. Because they are successful at it, the plight of a pair of doomed lovers is as poignant as the story of the teacher and the king. Of course it doesn’t hurt that the young lovers are portrayed by Manna Nichols and Joshua Dela Cruz, who not only have glorious voices, but make us hope for their love even though we know it’s impossible.
Director Richard Stafford builds his production with a sense of flow between the individual scenes, solos, and production numbers, always making the musical feel like an ensemble piece rather than a vehicle for a star. He also manages to choreograph the “March of the Siamese Children" efficiently, and integrates the children into the action without reducing them to props. Stafford does struggle a bit with North Shore’s arena staging, and Lamas in particular seems forced to pace in circles, stopping to plant himself on set pieces strategically located at different areas of the stage. Stafford is much more successful with his choreography, which always feels like it emerges organically from the center of the stage and then spreads outward.
With a first-rate company and a direct, unadorned production, the North Shore’s “The King and I" finds both the musical heart and the compelling moral compass in Rodgers and Hammerstein’s musical.
New England Theatre Geek Reviews The King and I
Another review is in! "Our introduction to Lamas as the King is unremarkable, but the introduction to his children in “March of the Siamese Children” is precious. The local children in these roles evoke ooh’s and aah’s every time they appear onstage." :) :)
My dad's often tough about live theatre and last night he finally told us what he thought... that it was the best NSMT production he's ever been to! (He's been to a ton there during the 37 years he's lived in town and the 5 years owning a business here!)
Tonight is the girls' first day off since the 19th! They'll be busy making up homework, picking up their room, and going back to the theatre for just one hour for their wonderful Triple Threat Workshop with Karen Maria Pisani, who served as the children's choreographer for The King and I while the adult actors were rehearsing in New York City! We are so lucky to be able to keep working with her after Richard Stafford, the show's Director/Choreographer arrived in Beverly with the rest of the cast to blend the work together!
(Beverly, MA) The North Shore Music Theatre’s The King and I opened this week with television, stage, and film star Lorenzo Lamas in the iconic role of the King, joined by Kate Fisher as the strong-willed widow and teacher, Anna Leonowens.
The first act opens with the round stage transformed into a ship deck, bringing Anna and her son, Louis (Giacomo Favazza), to the frightening and unknown world of Siam. Their duet, “I Whistle a Happy Tune” is delightful. Soon, they are greeted and escorted to the royal palace by a convincingly imposing Kralahome (Mel Sagrado Maghuyop).
Our introduction to Lamas as the King is unremarkable, but the introduction to his children in “March of the Siamese Children” is precious. The local children in these roles evoke ooh’s and aah’s every time they appear onstage.
The production finds its momentum with Fisher’s thoroughly enjoyable verbal assault on the King’s behavior in “Shall I Tell You What I Think of You?” Lamas’ personal enjoyment of the role becomes apparent in the Act 1 Finale, and his charming interplay with Fisher finally draws in the audience.
The highlight of the second act is “The Small House of Uncle Thomas.” Beautiful, expressive choreography blends perfectly with a small, but powerful group of singers, while the dancers and the opulent costumes complete the piece. Also noteworthy are the two young lovers, Tuptim (Manna Nichols) and Lun Tha (Joshua Dela Cruz). Their voices pair beautifully together as they perform the show’s love songs.
The King and I at North Shore Music Theatre is an enjoyable and traditional production of an American classic and plays through October 9th
My dad's often tough about live theatre and last night he finally told us what he thought... that it was the best NSMT production he's ever been to! (He's been to a ton there during the 37 years he's lived in town and the 5 years owning a business here!)
Tonight is the girls' first day off since the 19th! They'll be busy making up homework, picking up their room, and going back to the theatre for just one hour for their wonderful Triple Threat Workshop with Karen Maria Pisani, who served as the children's choreographer for The King and I while the adult actors were rehearsing in New York City! We are so lucky to be able to keep working with her after Richard Stafford, the show's Director/Choreographer arrived in Beverly with the rest of the cast to blend the work together!
(Beverly, MA) The North Shore Music Theatre’s The King and I opened this week with television, stage, and film star Lorenzo Lamas in the iconic role of the King, joined by Kate Fisher as the strong-willed widow and teacher, Anna Leonowens.
The first act opens with the round stage transformed into a ship deck, bringing Anna and her son, Louis (Giacomo Favazza), to the frightening and unknown world of Siam. Their duet, “I Whistle a Happy Tune” is delightful. Soon, they are greeted and escorted to the royal palace by a convincingly imposing Kralahome (Mel Sagrado Maghuyop).
Our introduction to Lamas as the King is unremarkable, but the introduction to his children in “March of the Siamese Children” is precious. The local children in these roles evoke ooh’s and aah’s every time they appear onstage.
The production finds its momentum with Fisher’s thoroughly enjoyable verbal assault on the King’s behavior in “Shall I Tell You What I Think of You?” Lamas’ personal enjoyment of the role becomes apparent in the Act 1 Finale, and his charming interplay with Fisher finally draws in the audience.
The highlight of the second act is “The Small House of Uncle Thomas.” Beautiful, expressive choreography blends perfectly with a small, but powerful group of singers, while the dancers and the opulent costumes complete the piece. Also noteworthy are the two young lovers, Tuptim (Manna Nichols) and Lun Tha (Joshua Dela Cruz). Their voices pair beautifully together as they perform the show’s love songs.
The King and I at North Shore Music Theatre is an enjoyable and traditional production of an American classic and plays through October 9th
Theater Mirror Reviews The King & I
Another fantastic review, not much about the young children specifically, but a little about two of the pieces that the girls had choreography for :) (They play twin royal princesses, half of Lady Thiang's imaginary skirt, and the clouds and snow in the ballet.)
A word of praise to the children who deliver the goods with their performance in "March of the Siamese Children", "Getting to Know You", the prayer to Buddha and the death of the King scene by staying [in] character at all times.
Richard's choreography is splendid from "Small House of Uncle Thomas" ballet with the fantastic dancers shining in it, to the "Getting to Know You" dance, the March of the Siamese Children and the show stopping "Shall We Dance".
By Tony Annicone
THEATER MIRROR
September 29, 2011
North Shore Music Theatre's fall production is Rodgers and Hammerstein's "The King & I", one of the duos best works. It is the moving true story of a young English widow and her son who travel to Siam to tutor the King's children. Anna Leonowens and her son spent 7 years in this country. In Siam, she encounters an unfamiliar world of grand beauty, but mixed with rigid Old World traditions. As the King decides how to bring his country into a new age, he and Anna begin to see beyond traditions and prejudices into what makes people special and what makes a man a true king. This story is as fresh and meaningful today as it originally was in "Anna & the King of Siam". It shows the difference of two cultures told against the backdrop of the Orient. The show also makes a strong statement about a woman's place in the male dominated society of the 1860's and by using star-crossed lovers it shows the evilness of slavery. The musical opened on Broadway on March 29, 1951 and ran for 1,246 performances. Director/choreographer Richard Stafford picks the best performers to bring this beautiful show to life and creates some terrific dances especially the Uncle Thomas Ballet sequence and musical director Craig Barna taught the cast the intricate and lush score. They win their cast a well deserved rousing standing ovation as its reward.
Owner and producer Bill Hanney spares no expense to bring this show to Beverly with gorgeous nineteenth century costumes by Paula Ninestein and fantastic sets by Erik Diaz. Richard's insightful direction and blocking of his cast, makes the comic and dramatic moments stand out. Pathos is the measuring stick of "The King & I". This audience was moved to tears many times, making this a very successful show with its acting, singing and dancing. Craig conducts his 10 piece orchestra and taught the glorious harmonies in these numbers. The vocalists excel in their solos, duets and group numbers due to Craig's expertise at vocal coaching. Richard's choreography is splendid from "Small House of Uncle Thomas" ballet with the fantastic dancers shining in it, to the "Getting to Know You" dance, the March of the Siamese Children and the show stopping "Shall We Dance".
The two leads of this show do an outstanding job in their huge roles. Lorenzo Lamas plays the King. He adds a human element to this usually hard and unbending character. Lorenzo plays the role with hair on his and a small goatee. His songs include "A Puzzlement" which shows how even a King needs to question himself every now and then as well as "Shall We Dance" the exuberant polka number with Mrs. Anna. Lorenzo delivers his comic lines perfectly especially the Moses scene and handles the angry moments superbly especially the whipping scene where he builds to a level of intensity before he breaks down. His death scene is magnificent, filled with the right amount of poignancy.
Kate Fisher steals the audience's heart the moment she appears onstage as Mrs. Anna. From her splendid British accent to her fabulous soprano singing voice to her unbelievable acting prowess, Kate makes you laugh and cry at all the right places. Her songs include "Whistle a Happy Tune" which she sings to bolster her son, Louis' courage in this foreign land, "Hello Young Lovers" which is a poignant song about her late husband, "Getting to Know You" which she sings with the wives and children while doing a dance with her son, Lady Thiang and the Prince near the end of it, "Shall I Tell You What I Think of You", which is a comic gem with her throwing herself around the stage in her petticoat while berating the King for his boorish behavior and "Shall We Dance" which is a powerful and fun number where she teaches the King the polka. It also shows the depth of their relationship with each other. The closing of Act 1 where Anna keeps her head below the King's head is very funny while her argument scenes with the King especially the whipping scene are very powerful. Kate also tugs at your heart strings while reading the letter from the dying King and in the death scene. Bravo to both Lorenzo and Kate on their breathtaking performances.
Lisa Yuen is terrific as Lady Thiang, the King's head wife. She gives the character the necessary backbone to convince Anna to stay in Siam and to stand up to Tuptim. Lisa's majestic voice is heard in "Something Wonderful" which is breathtaking at her delivery. The words and music of the song move Anna to return to help the King. Lisa also sings the difficult "Small House" segment and shows great compassion when she comforts the Prince before his father's death. I reviewed Lisa in Spelling Bee" at Theatre by the Sea this past June.
The two young lovers, Tuptim and Lun Tha are played by Manna Nichols and Joshua Dela Cruz who act beautifully in their roles. Manna gives Tuptim, the strength she needs to live in a foreign country as a worthless slave and concubine. Her character writes a story about the evils of slavery in America and adapts it to apply to her situation in Siam. Manna sings her contempt for the King in "My Lord and Master" where her lovely soprano voice soars up to a high A # and she narrates the ballet scene perfectly leading the others to glare at her when she verbally attacks the King. She and Joshua have two of the prettiest ballads in the show, "We Kiss in a Shadow" loved the gliss at the end of the number and "I Have Dreamed". She is a gorgeous brunette and Joshua is tall, dark and handsome. He also has an unbelievable tenor voice which soars in both these songs. Both numbers are about the star-crossed lovers unrequited love for each other. The love match is doomed but both young performers have you rooting for them to win against all odds.
The two young boys who play the Prince and Louis are Ellis Gage and Jack Favazza. Ellis delivers his lines with regal bearing the role needs and makes a grand entrance during the March of the Siamese Children scene. He has great interactions with the King, Anna, his mother and Louis. The Prince and Louis wonder why adults act the way they do after their argument in the schoolroom. Jack has a perfect British accent as Louis, sings "Whistle a Happy Tune" wonderfully with Kate and is very natural and charming in the role of Mrs. Anna's son. I last reviewed Jack as young Tarzan earlier this season at NSMT.
The menacing Kralhome is well played by Mel Sagrado Maghuyop. He shows his loyalty to the king by making Anna wait in the palace for three weeks and delivers a strong performance as his right hand man. Mel is terrific when he tells Anna she has destroyed the King and in the final death scene.
The friendly Captain Orton and Anna's old friend, Sir Edward Ramsey is well played by Ron Wisniski A word of praise to the children who deliver the goods with their performance in "March of the Siamese Children", "Getting to Know You", the prayer to Buddha and the death of the King scene by staying character at all times.
The children's choreography is by Karen Maria Pisani and music by Robert Rucinski.Richard's choreography shines in the dances and his superb ballet sequence is powerfully performed and brilliantly executed by Rumi Oyama as Eliza, Anna Laghezza as George, Rommel Pierre O'Choa as Simon of Legree, Tiffany Toh as Little Eva, Jan Javier as Topsy and Jee Teo as Uncle Thomas. The powerful ballet segment includes an ice skating and a dog chase section.
This show brings back many happy memories for me, having directed it back in 1981 and is one of my favorite shows I have directed. Kudos to everyone who make this musical the must see show of the fall season. So for a magnificent musical masterpiece, be sure to catch "The King & I'' at North Shore Music Theatre. Tell them Tony sent you.
