The King And I
DATE 11th October 2019
SOCIETY Workington Amateur Operatic Society
VENUE The Carnegie
TYPE OF PRODUCTION Musical
DIRECTOR Tony McGee
MUSICAL DIRECTOR Liz Condron and Mike Ames
CHOREOGRAPHER Natasha McKenzie
Report
Author: Martin Craig (District 11)
Based on the book, ‘Anna and the King of Siam’ (which in itself is an enhancement of Anna
Leonowen`s Memoirs), The King and I has become one of the great crowd pleasing classical
musicals of the last sixty years and has become a staple of many musical theatre societies. With
so many wonderful musical numbers, a sumptuous score, lavish costumes, what more can an
audience ask for?
Jack Pike took on the role of the King of Siam-a far departure from last year`s role of Sir
Lancelot. My initial thoughts of him being a little young for the role soon diminished as Jack`s
interpretation of the character was very good - great timing and comic delivery, all whilst strutting
round the stage like a proud peacock. The King has to have an air of pomposity and arrogance
and had to show not just how powerful the King was, but also how vulnerable he could be.
These, and his softening towards Anna came over convincingly.
Jennifer Hawley-McGee played a feisty Anna Leonowens giving a solid performance throughout,
whether it be showing her displeasure with the King, her fondness for the children or even
dealing with the King`s many wives. Jennifer`s demeanor and expressions showed us exactly
how she was feeling. Her scenes with the King were well timed and well executed with both
showing the respect to both each other and the roles they had undertaken.
Tuptim, the slave present from the King of Burma, was played by Holly Harkness. Holly was
excellent in the role - with a great singing voice and really strong performance. Holly`s Tuptim
grew in stature throughout the show, her “My Lord and Master” was definitely a highlight for me
with great characterisation and delivery throughout, especially for the Uncle Tom`s ballet
sequence.
Andrew McMinn took on the role of Lun Tha, Tuptim`s lover. Another solid performance from
Andrew. The duets between Lun Tha and Tuptim were sang really well - both voices
complimenting each other. If I have one note on the lovers it would be that I`d like to have seen a
little more chemistry between them - it`s hard to kiss in shadows when you`re ten feet apart.
Gillian Rothery played the proud first wife, Lady Thiang- mother of the Crown Prince heir, Prince
Chulalungkorn. This was a very believable portrayal by Gillian, the scenes between her and
Anna were very touching and her delivery of Something Wonderful was excellent.
On the night I saw the show, Cole Walker and Daniel Dixon took on the roles of Louis and Prince
Chulalungkorn, respectively. Both playing their roles well, replicating the manner of their stage
parents, singing well and showing us that the future`s bright for local theatre. I`m reliably
informed that the other Louis`s (Jack Hawley, Henry Voce) and Prince (Jake Ivison) were every
bit as good.
Tony McGee played the Kralahome with the dryness and authority the role commands. Captain
Orton, Interpreter and Sir Edward Ramsay ( Ed McGee, James Mossop and Mark Stilwell) were
all played well, as were all other minor roles including those in the ballet sequence for Uncle
Tom`s Cabin.
The chorus of children, wives, guards and dancers all added characterisation and depth to their
roles and gave tremendous support throughout.
Staging for the production was kept to a minimum using cloths, lighting effects and props (large
and small) to depict various locations. The King and I can sometimes be a logistic nightmare for
Director, crew and performer alike - the changes in this production were slick and kept the pace
moving. I did think that the boxes for the opening could have been pre-set rather than being
carried on by cast due to the dialogue between the Captain and Louis immediately after setting
them (nit-picking, I know). The costumes throughout were excellent and added to the grandiose
nature of the show.
Musical Directors Liz Condron and Mike Ames had obviously worked hard with the company and
it showed.
Choreography was in the capable hands (or feet) of Natasha McKenzie - from Polka to Uncle
Tom`s Cabin, the company moved well throughout.
Tony McGee once again took on the reins as Artistic Director and Producer and should be proud
of what he, and the rest of the company have achieved with this classic musical.
Thank you Workington Amateur Operatic Society for an enjoyable evening, your invite and, as
per usual, your exemplary hospitality.
