The King and I

The Lyric Opera of Virginia’s presentation of The King and I was “something wonderful.”  The huge cast must have presented complications for Founding General and Artistic Director Peter Mark, General Director Joseph Walsh, director Greg Ganakos and choreographer Yuki Ozeki, but such difficulties were easily overcome by these veterans.

The lead role was no problem for Kevin Gray—who has portrayed the King countless times, including on Broadway—easily overcoming his hirsute pate and Caucasian features with his fine singing and unforgettable acting. Hilarious lines were delivered with aplomb.

Lisa Vroman—who has sung for Queen Elizabeth—was marvelous as Anna, the proud English schoolteacher who eventually developed  a mutually unrequited love for the King. Happily, Aundi Moore, after her recent local triumph in Rappahannock County, appeared as the King’s “principal wife.”  Her deep voice presented a nice contrast to Vroman’s.

The young lovers, Tuptim (Diane Phelan) and Lun Tha, were excellent. Two of their kisses were long and passionate. Lovely Diane Phelan delivered the lengthy narration of “Small House of Uncle Thomas, ” bringing slavery into this story taking place in the 1860s, which was also long on feminist issues.  As a singer/voice coach myself, I was repeatedly moved by the singing of Nate Hackmann.  The incredible song, “I Have Dreamed, ” was a goose-bumper. When the Broadway show opened in 1951, we were embroiled in war in Korea. The original Broadway production and the 1956 film starred (the bald) Yul Brynner and Deborah Kerr. Although feminism had been around for decades, it was still a decade from prominence.

Richard Rodgers’s gift for melodic creativity may well be unequaled.  He once remarked, “I can pee melody!”  Oscar Hammerstein had remarkable insights into human nature, which he repeatedly expressed with wit and tenderness, unselfishly wishing to advance the story rather than display cleverness.  The big songs in the fifties were “Getting to Know You,” “I Whistle a Happy Tune ” and “Shall We Dance?,” which this young jazz-nut considered corny…at the time. Even today, I’d call three of the show’s songs masterpieces: “We Kiss in a Shadow,” “Something Wonderful,” and especially “Hello, Young Lovers” with its touching verse about “the soft mist of England” and the soaring release (bridge):  “You fly down the street.” Tip to today’s singers: it makes a terrific swinger.

The dancing, costumes, huge backdrops, adorable kids and 28-piece orchestra were highly commendable.  I especially loved the Ohio River which was a long, blue carpet waved by two players. Effective! Two mild quibbles: at times, the children’s voices didn’t carry and the printed program had some embarrassing repetitions.'

What a joy!

(Pictured: KEvin Gray and Lisa Vroman; Photo by Anne Peterson)

Eric Stevens
Cabaret Scenes
Janaury 6, 2012
www.cabaretscenes.org