There are a lot of things you can get away with in casting musical theater.
If your Harold Hill can execute snappy patter and your Henry Higgins has exquisite diction, all the other elements of a good production can make up for other shortcomings. But if your goal is to stage Roger's and Hammerstein's “The King and I,” you had better have the King.
Ronald M. Banks is the King. He is imperious, intelligent, imposing and impeccable. He is a force of nature in the role, gripping the audience from his first appearance and never letting go. It is the kind of work audiences at any level rarely see, an artist at the very pinnacle of his craft, absolutely committed and completely convincing. Even if you aren't a fan of musicals in general or of this one in particular, if you have more than a passing interest in theater as an art form, you owe it to yourself to see this performance.
And, if that endorsement isn't enough, the rest of this show is pretty good too. Eileen Ward is a wonderful Anna; sure, headstrong and sincere. She is a match for Banks every step of the way. Their “Shall We Dance” is the highlight of the production. She seems less comfortable with the hoop skirt than she should be and isn't helped by early direction requiring that she step up onto a steamer trunk. She carries the role off admirably, however, with polish and poise and with a fabulous voice.
This entire cast, in fact, boasts superior voices. Musically this is a spectacular production, a tribute to the talent of Musical Director Mark Goodman.
Jihyen Park and Mario Matthews are the young lovers, Tuptim and Lun Tha. Both make the most of their duets, “We Kiss in a Shadow” and “I Have Dreamed.” But, while Matthews seems fully committed to his role, Park is less convincing.
Jeanie Hines-Clinton is outstanding as the King's head wife and Scott Kitajima is very good as his right hand man. Auburnians Carey Eidel and Michael Nye do terrific work in supporting roles, and Luke Colella and Ben Scheibel deserve a nod as the sons of the title characters. Elizabeth Earley and Daryl Getman stand out among the chorus.
The only problem with this play is - well - the play. As good as the music and the performers are here, “The King and I” is in need of trimming. In that respect it is not unlike much of the R&H canon. Unfortunately any tampering with the script is strictly forbidden by those who hold the rights, essentially limiting the creative choices of the director to casting.
The show is a delight for the eyes as well as the ears. Michael F. Hotto has created beautiful sets for the play and Robert Frame does his usual fine work with the lighting design, particularly in his understated use of spotlights. Laura Simcox has created sumptuous costumes for the show.
There is nothing objectionable in this show for families.
Grade: B+
Ronald M. Banks is the King. He is imperious, intelligent, imposing and impeccable. He is a force of nature in the role, gripping the audience from his first appearance and never letting go. It is the kind of work audiences at any level rarely see, an artist at the very pinnacle of his craft, absolutely committed and completely convincing. Even if you aren't a fan of musicals in general or of this one in particular, if you have more than a passing interest in theater as an art form, you owe it to yourself to see this performance.
And, if that endorsement isn't enough, the rest of this show is pretty good too. Eileen Ward is a wonderful Anna; sure, headstrong and sincere. She is a match for Banks every step of the way. Their “Shall We Dance” is the highlight of the production. She seems less comfortable with the hoop skirt than she should be and isn't helped by early direction requiring that she step up onto a steamer trunk. She carries the role off admirably, however, with polish and poise and with a fabulous voice.
This entire cast, in fact, boasts superior voices. Musically this is a spectacular production, a tribute to the talent of Musical Director Mark Goodman.
Jihyen Park and Mario Matthews are the young lovers, Tuptim and Lun Tha. Both make the most of their duets, “We Kiss in a Shadow” and “I Have Dreamed.” But, while Matthews seems fully committed to his role, Park is less convincing.
Jeanie Hines-Clinton is outstanding as the King's head wife and Scott Kitajima is very good as his right hand man. Auburnians Carey Eidel and Michael Nye do terrific work in supporting roles, and Luke Colella and Ben Scheibel deserve a nod as the sons of the title characters. Elizabeth Earley and Daryl Getman stand out among the chorus.
The only problem with this play is - well - the play. As good as the music and the performers are here, “The King and I” is in need of trimming. In that respect it is not unlike much of the R&H canon. Unfortunately any tampering with the script is strictly forbidden by those who hold the rights, essentially limiting the creative choices of the director to casting.
The show is a delight for the eyes as well as the ears. Michael F. Hotto has created beautiful sets for the play and Robert Frame does his usual fine work with the lighting design, particularly in his understated use of spotlights. Laura Simcox has created sumptuous costumes for the show.
There is nothing objectionable in this show for families.
Grade: B+