For over half a century, The King and I has served as a beacon of quintessential theater. From the beloved composers Rogers & Hammerstein comes a story about how cultural differences aren’t as frightening as one would think. As The King of Siam is befriended by a new tutor in the British woman Anna, their relationship evolves into something curious. It’s a study of the many ways that humanity is not all that different deep down. There may be egos and power trips, but beyond the artifice comes the desire of getting to know all about you. Thanks to clever staging, the show manages to incorporate Eastern with Western Theater in a way that assimilates the audience to a unique, one of a kind experience.
What makes the recent run at The La Mirada Theater extra special is that it’s one of their greatest productions of the past few years. Every set piece feels lavish while the costuming is dazzling to look at. With a massive cast, there’s an impressive handling of the many moving pieces, finding the travelogue undertones paving the way for personal connections. The towering visuals allow the many catchy numbers to resonate and even produce for some of the show’s most memorable events. Things as simple as character introductions have comedic undertones via physical comedy that establishes hierarchies and even disconnection. At one point even the hoop skirt becomes a whimsical antagonist as Anna (Anastasia Barzee) sings about how much she hates The King (Paul Nakauchi) while writhing on the floor.
A major accomplishment of the show is the relationship between the central figures. The King is designed as egocentric and a leader who had no choice but to fend for himself. Even with several wives and dozens more children, there is a loneliness to him that shines in his unwillingness to see any of them as equals or even rivals. He’s using them all as pawns to reflect power, to show how Siam is one of the dominant forces of the world. Meanwhile, Anna is a more learned woman who recognizes the oppression they all face. The ability for her to slowly capture the attention of The King as more than a teacher allows for him to develop empathy and even recognize the joys of living that he’s overlooked by being close-minded.
Is the show dated? In a sense it is. While it’s entertaining and even provocative as a commentary on gender politics, it’s maybe more difficult to see the racial nature being up to equal snuff. Unlike other shows, it’s not the worst form of Orientalism on display. Rodgers & Hammerstein may paint Siamese culture as a bit foolish at times, but there is a humanity that is consistent with their other work. They all learn lessons and even have an even playing field with their white characters. The only conflict is one that plagued theater until fairly recently with white creators unable to fully understand outsiders as anything but that. The King by virtue of this is beyond contemporary examples. He’s a clever character who manages to use his power with a winking antagonism. Thankfully, Nakauchi brings so much humanity to the role that things as simple as sitting in a chair become a delightful set piece.
The King and I also features a fairly interesting Act II that manages to elevate the first half’s more comedic passages into something more meaningful. Along with supporting characters who symbolize the need for freedom and expression, there is an extended ballet set to the plot of Harriett Beecher Stowe’s “Uncle Tom’s Cabin.” It’s one of the best pieces of theater imaginable as it takes an American story and translates it into Siamese theater, proving how certain things can transcend culture. It’s as much an embrace of art as it is recognizing that Siamese identities still struggle to be accepted and feel alive. It’s a brilliant number full of practical set pieces, such as a drape representing a river, and begins to hopefully sway the viewer into recognizing the value of cultures outside of their own. It’s a funny, tragic moment that captures the show’s best features in a matter of minutes and one that keeps this as an essential show.
Credit should be given to La Mirada Theater for continuing to do excellent work with theater. Along with making The King and I into one of the biggest, most dazzling musical performances within Southern California, they have continually booked more exciting talent. Along with a recent musical from Animaniacs composer Randy Rogel, they are working on obtaining a certain 90s sitcom star for their upcoming production of Fiddler on the Roof. Along with the excitement that comes with free parking, the venue is on the rise and one that should be kept an eye on. It’s likely that their 2023-2024 line-up will be even more impressive than this, though it’s yet to be seen as to how.
All in all, The King and I is a great piece of theater and one that even over a half-century later manages to appeal to audiences. It’s a story full of heart and humor, finding characters that are immediately iconic and elevates the material into the stuff of wonderment. Given that The La Mirada Theater is said to have designed the show from beginning to end, the craft is clearly on display. The talent is phenomenal and I think speaks to what hard work and an enthusiastic team can do. Even for its few dated aspects, it’s a show worthy of considering any time it’s around. Even for a small venue, the performances are huge and fill the room with intrigue. It’s everything that a night out at the theater should be and a major reason to consider discovering the classics.
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