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The multiple Tony Awards production of King and I of Rodgers & Hammerstein was transferred from Broadway to London's month after a critically acclaimed 16-month race at Lincoln Center Theater in New York and an unprecedented American tour that breaks all records.
Currently playing at the famous London Palladium, the show has three of the main players at the Lincoln Center. : Led by Tony Award winner and Kelli O 'Hara as Anna Leonowens, movie star, Oscar and nominated Tony (for his role on The King and I) Ken Watanabe in the title role of King of Siam and Ruthie Ann Miles rehearsing her award-winning Tony Thiang's Tony Role. The Japanese actress Naoko Mori shares the role of Lady Thiang. Takao Osawa, the multiple award-winning actor and star of one of Japan's most popular TV series, JIN, plays the Kralahome, trusted advisor to the king of Siam. Dean John-Wilson (who starred in the original production of Aladdin in Disney) and Na-Young Jeon play the young lovers, Lun Tha and Tuptim
With the music of Richard Rodgers, book and lyrics Oscar Hammerstein II, The King and Me – who has won four Tony Awards, including Best Revival of a Musical – will open its European premiere at the London Palladium. The production will begin June 21, 2018 (Press Night July 3, 2018) for a limited commitment, until September 29, 2018.
One of the most notable works of Rodgers & Hammerstein, this chef- artwork offers a score of well-known classics like Getting to Know You, Hello young lovers, whistle a happy air, will dance, we will have dreamed and something wonderful. Settled in Bangkok in 1860, the musical tells the story of the unconventional and tumultuous relationship that develops between the king of Siam and Anna Leonowens, a British teacher, whom the imperious king brings to Siam to teach his many wives. and children
. see what critics have to say!
Ann Treneman, The Times: What a treat. The shimmering curtain (imbued with an incredible 250 m2 gold leaf) opens to reveal a thoroughly detailed sailboat. On board is a certain Anna Leonowens, her swinging hoop skirt with a strength to be reckoned with. It's in 1862 and it's a widow who came to Siam to teach the king's children (over 60 years old).
Tim Bano, The Stage: But there are moments of prodigality that are not necessary. The first scene has a huge boat on stage, and nowhere else does the show depend so strongly on the whole to invoke greatness. The rest of the time, it does so thanks to the excellence in the interpretation, singing, dancing and skillful manipulation by Sher of a huge ensemble. In addition, the boat must reverse to leave the scene, which seems clumsy and is one of the few missteps of director.
Michael Billington, The Guardian: Although I've never felt that there was a lot of kinship between the two protagonists of the story, "Hara, who won a Tony Award for her performance, is a delight.It suggests a woman who is both fiery and sweet and who not only spells out every syllable of her songs but invests them with emotion.I have never heard Hello Young Lovers better delivered: when O Hara announces "I know what it's like to have wings on your heels", a light enters her eyes as if she's reliving her past. Anna, from O 'Hara, is also comfortable with the king's many children, whom she balances happily, pointing out that her commitment is less for the king than for future generations.
Debbie Gilpin, BroadwayWorld: Although There are times when it is quite difficult to understand Watanabe's words – unfortunately, including a number e potentially entertaining ("A Puzzlement") – it largely offsets charisma, humor and a magnetic scenic presence. His ability to pass from a charming man to a tyrannical king is particularly impressive.
Daisy Bowie-Sell, WhatsOnStage: Sher's production is huge, sumptuous and beautiful with Michael Yeargan's creations and Catherine Zuber's costumes. The second act draws a bit, which could be in connection with Jerome Robbins' extraordinary original ballet "The Little House of Uncle Thomas" (a kind of play in a play that carries the romantic sub-plot to his head). minutes. Mixing ballet with Siamese traditional dance is a marvel to watch, but it makes this music long enough. The choreographer Christopher Gattelli does however well to recreate the original in this version, and the rest of his movement fits perfectly in the piece.
Quentin Letts, Daily Mail: It's hard to be as enthusiastic about Ken Watanabe as he is about the king. Maybe half of his words are inaudible. This is the role played by over 4,000 representations of the late Yul Brynner. He managed to make the king more virile, more flexible, more lively – but less guttural. Director Bartlett Sher could not be accused of hurrying things. The evening lasts almost three hours and, if there are slow passages, it gives you the opportunity to admire a set of tall columns and glittering gold curtains that turn into money in a switch of lights.
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