The King and I previews thread — Page 11

Thanks bstoll11 .. I was deciding between row c or j and just went with C cause I figured it would be less cramped and cool to be up close. Ah well. Too bad its not the best, but for $32 I'm not complaining.

I saw the show this afternoon via cancellation line. (There were only a few of us and everyone got in; my seat had a great view, though it cost more than I'd usually spend.)

This was my first time seeing The King & I; I'm a 90s kid and only knew a few of the songs beforehand. I loved the score and was a little surprised at the thematic depth of the material. I thought it was going to be a highly romantic show, and I was delighted that it isn't--not really. Kelli O'Hara does not shine quite like she did in South Pacific, but neither does the character. She obviously sings it beautifully. The production is handsome, even if the sets were quite austere. I read the team's reasoning in the LCT Review magazine, but I think they went overboard in skimping on scenery. The kids are wonderful.

It's true that Ken Watanabe has a thick accent, as anyone whose seen him in American films can attest. But either reports of his diction are being exaggerated, or he is already improving. His projection is good. I heard some complaints at intermission, but frankly, I think people just weren't listening closely. His book scenes were mostly fine for me; it was only during his singing in "Is a Puzzlement" that I had a real issue. I think he struggles there because he can't take the time he needs and perhaps he is still intimidated by the singing. I'm sure he will get better with more repetition in the space. His acting is very good and he is finding (and landing) a lot of laughs from a sincerely character-driven place.

Oh! And of course, the real treat here is hearing what a real Broadway score really sounded like with a real, large orchestra. I got goosebumps.

Updated On: 3/15/15 at 07:25 PM

I did not mark the time, but I was in the 1 train stop a few minutes before 6. So, 2:45 or 2:50? Not a short show, but it sounds like they've tightened up some. It did not feel slow to me.

Just came back from the Sunday matinee, wiped the tears from my face (again), and logged on to find more and more piling on about Ken's diction issues.

I'm here to say a word on his behalf. I though he was the most electric, unpredictable exciting performer on the stage today. Sure I lost a word or two (and I'm pretty familiar with the libretto already), but every emotion was clear as day, every nuance and tonal shift carried to my seat, and nearly every joke landed with a huge laugh throughout the house. He embodied the character through and through, and I couldn't wait to see what he would do in each coming scene.

Kelli was perfection, as we all expected. And maybe that's a bit of a disappointment-- everything with Anna was just as expected, the bell-like singing voice, the warm true emotions, the complete command of the part. I just wished she had surprised me with some of her choices along the way.

The real secret weapon in this cast is Ruthie Anne Miles, who is LIVING the part of Lady Thiang. She has the very best song in the show and maybe the most affecting story arc, and she made the most of it. Gorgeous.

Bartlett Sher has staged a very moving opening half hour and closing half hour (Late in the Second Act here, there's a nod to that haunting staging for the reprise of "Honey Bun" in South Pacific, which works great.) But that leaves almost 2 hours of basic traffic directing that had me hoping for more of a masterstroke from him.

And speaking of masterstrokes-- okay that boat isn't the only thing that makes Michael Yeargan's opening set so beautiful. There's a sunset, a harbor, shacks and shanties that all appear to be reflected in the water, decks move, pieces come apart and reform. We're given a feast! So why oh why did they decide to stage the rest of the show like 3 grains of rice in a monk's bowl? We got a rough plaster wall and a few sliding columns, with a lone gold buddha to liven things up. Huh?? More than one exiting audience member complained about the bait and switch.

And what's the takeaway? Oscar Hammerstein has written maybe the most beautiful libretto of his life here and everyone onstage understands and delivers that perfectly. I'll always have quibbles, but the catch in my throat and tears streaming down my face at 8 or 9 points in the show don't lie. Go see what musical plays are really all about.

Updated On: 3/15/15 at 07:39 PM

Great review, Someone in a Tree!

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Thrilled to hear that Ken is improving. He has the commanding presence that is necessary for the role, and with some work, it was evident that he has the chops to play The King.

Updated On: 3/15/15 at 07:58 PM

Also was at the matinee today--

Kelli is giving the performance of her career...thus far. Wantanabe has slight issues with his diction, but I thought he was captivating and wonderful. Supporting players were very fine, indeed. Sher does well by R&H, again. I thought his direction was masterly. I agree that the set, while not cheap looking or without splendor, was not nearly as magnificent as Yeargan's work on PIAZZA or SOUTH PACIFIC-- or even the Odets plays he's done with Sher.

But the star of the show, as the reviews pointed out way back in 1951, is Oscar Hammerstein. It's his triumph. If CAROUSEL is the masterwork of two artists in peak form, THE KING AND I is, as someone said, the libretto of his life. (That's not to put down Rodgers, who wrote a wonderful, gorgeous score.)

ON THE TOWN and ON THE TWENTIETH CENTURY are all well and good, but once again LCT proves they know how to mount a classic musical better than anyone else. Sure, they have the resources. But they also have the taste. I didn't catch the exact time the show began, but I was out of my seat at 6:06, so for my money, the show was 185 minutes (3 hrs. 5 mins.). I can't vouch for the timing of 2:50 mentioned earlier, unless I'm losing my mind. But nothing felt slow-- pacing was great, even better paced than SOUTH PACIFIC.

^It really makes me happy that Sher is taking advantage of previews and the reviews of the matinee are really positive. As for the minor quibbles of the set, I think Sher wants the actors to speak for the musical without getting too overwhelmed by the lavish designs of the palace, so I can understand why Michael Yeargan designed something more simple for the palace. If anything I like that sort of balance for a musical, FOLLIES anyone?

I have a question for both Someone and jc92: How was the actors who played Tuptim and Lun Tha?

Ashley Park has a darker more mature tone to her voice than I'm used to for Tuptim. Almost operatic. So the fact that this supposed sweet young thing turns out to have a steel backbone came as no surprise in this production. She was a tiger from the get go without much of a soft side. Her "Uncle Tom's Cabin" sequence was terrific though.

All the talk about Conrad Ricamora not being hunky enough for Lun Tha was hysterical to read a few pages back. He looks waaaaay more hunky than most Thai monks I've ever seen. He was in great voice, but let's face it, the part is woefully underwritten. I guess I could have wished for more chemistry between the two.

^THIS!

I know it's early to ask (and this might not even be the right place), but how is the stagedoor? I'm seeing the show on Easter, and I was curious.

And how would the third row on the left side of the house be? I've only ever sat up in the mezzanine before.

Yeah, I know. The rest of the weekend was booked up, so we went with Easter. I won't be too disappointed. I was just curious.

I have seen pictures on Instagram and it seems like Kelli signs and takes pictures and Ken signs.