As a wordsmith, I particularly liked the way Hammerstein made the King’s speech abrupt, removing more of the articles (like many Eastern languages do). I also enjoyed the oriental feel to the music of Rodgers. I imagine that creating a musical set in a foreign place must allow composers to explore the indigenous music style of that place, as Lloyd-Webber did with Evita.
This is a musical that has everything you can hope for. There are some great tunes, enabling actors to show off their vocal range (Annalene Beechey as Anna was great but Cezarah Bonner as Lady Thiang was even better). There are several opportunities for great choreography (superbly executed) in the Entrance of the King’s Children, the Uncle Tom’s Cabin narrated ballet, and ‘Shall We Dance?’. There are children so that the audience can say ‘oh how cute’ and simultaneously marvel at how perfect they were (Caleb Lagayan was suitably both imperious and fragile as the Crown Prince, though he isn’t a child actor by any means). There is an exotic setting, great costumes and, of course, a tension (caused by culture clash) between the two principal characters. And if the overall message is that Western values triumph over Eastern ones, that is music to the ears of the mostly western, mostly ageing, mostly socially conservative audience, at least in Eastbourne.
It was perfectly executed and hugely entertaining. If I hadn’t been so cramped by the constricted seating which caused my damaged knee a considerable amount of discomfort, I would have given it a standing ovation.
Comments
Post a Comment