September 2, 2005

The golden glow emanating from the Lohrey stage at Theatre Memphis is as much the result of vibrant community theater energy as it is the liberal application of gold paint. Neither liveliness nor lacquer is spared as the theater continues its tradition of starting off the season with a splashy classic musical, recreating a lavish palace in 19th Century Siam (now Thailand) for "The King and I." The production showcases the two strongest qualities of the theater -- dedication by a large body of mostly volunteer workers and top-notch production values.

While Rodgers and Hammerstein is about as traditional as they come, there are certainly no cobwebs on this show. The theater's seamstresses, under the direction of Andre Bruce Ward, must have been punching a sweatshop time clock to create the large number of colorful costumes found in the royal retinue.

The touch of a skillful director is needed to smooth out some of the less P.C. aspects of a show that stars a boorish caricature of a third-world king who is reluctantly Westernized by a prissy English governess. Someone must rescue "The King and I" from being a show about taming the savages, and that's where John O'Connell and Louisa Koeppel come in and triumph. The director and choreographer have done their research. And as much as possible, they bring out the human side of the exotic pomp and circumstance. Koeppel's choreography of the famous "Uncle Tom's Cabin" ballet is particularly well-crafted and received an appreciative ovation from the audience. In its resemblance of Indian-influenced khon and lakon nai -- styles of ancient Thai dance theater -- the masked spectacle reinforced the director's stated notion that the musical is "a struggle for the King of Siam to welcome change and at the same time hold on to all that is dear to his own regal, colorful and honorable Siamese culture."

Since its Broadway debut in 1951, "The King and I" has been a continual winner in the musical theater repertoire. But with so many stagings, even classic melodies like "Shall We Dance?" and "Getting to Know You" can sound hoary without the right kind of energy.

A number of unfamiliar faces at Theatre Memphis bring the necessary freshness to the script. Henry A. McDaniel III may not find great depth in his role of the King, but he makes up for it with often comically emphatic gesturing and singing.

In the role of Anna, guest artist Jennifer Goode Cooper turns songs like "Hello, Young Lovers" into bel canto showpieces.

Strong supporting singers include Janice Aiken as the King's wife Lady Thiang and newcomer Hillary Lanier, whose emotional narration during the ballet scene gives it the much-needed tragic subtext.

With music direction by Gary Beard, the show has a small, reliable orchestra in the pit. Kudos to percussionist Stan Head and flutist Jennifer Whitehead who provide most of the Eastern texture to the music.

Cuteness is the biggest commodity in "The King and I," however. From the cherub-faced observations of Neel Dixon (as Anna's son, Louis) to the smiling assortment of small children under Anna's care (oh, just try not to smile when they link arms and sway during "Getting to Know You"), the audience can't help but lap it up.

Overall, it's a pretty production that captures the can-do spirit of community theater. Pulling it all together, they've managed to create, in the words of Lady Thiang, "something wonderful."

-- Christopher Blank: 529-2305