Tony-winning ‘King and I’ proves both revelation and revival

There’s just one thing wrong with “The King and I.” Not enough tickets.

At last check, only a few seats remained for the Tony-winning revival’s Smith Center run, which continues through Sunday.

Otherwise, the title of one its loveliest songs — “Something Wonderful” — suggests the impact of this Rodgers and Hammerstein classic.

In part, that’s because this “King and I” qualifies as a revelation as well as a revival, demonstrating strengths (and depths) that have remained relatively unexplored since its 1951 Broadway debut.

Leave it to director Bartlett Sher (who won a Tony for his 2008 revival of R&H’s “South Pacific”) to examine, and emphasize, “The King and I’s” essential theme: opening minds, and hearts, to bridge the gap between seemingly incompatible cultures.

Many R&H musicals (starting with their groundbreaking first, “Oklahoma!”) explore that topic. But “The King and I” does so on a global scale, as ancient East meets 19th-century West — symbolized by the musical’s title characters.

The monarch is Mongkut of Siam (outwardly autocratic, inwardly vulnerable Jose Llana), who’s determined to embrace the Western world — if only to help prevent European countries from colonizing his. To that end, he hires plucky British widow Anna Leonowens (forthright yet tender Heather Botts) to teach his multiple children. And multiple wives.

Rather than romanticize the exotic East (after all, the British are “so sentimental about the Oriental,” as the frequently cut number “Western People Funny” points out), this “King and I” focuses on the emotions linking its complex characters.

That’s especially true of the war of wits between the blustery king and the “very difficult woman” who helps show him a new way of looking at, and dealing with, the world.

Yet it also applies to the king’s imposing chief wife, Lady Thiang (a graceful, rueful Joan Almedilla), and to Tuptim (played on opening night by the quietly fiery Q Lim), a “gift” from the Burmese king who dares to challenge Mongkut’s power over her, and everyone else’s, life.

Serious stuff, but this “King and I” balances the forceful drama with welcome humor and beguiling charm, especially during such delights as “Getting to Know You,” “March of the Siamese Children” and “Shall We Dance?” (The latter still sparks one the sexiest shifts in musical theater: the magical moment when Anna and the king’s polka lesson metamorphoses from merry to magnetic.)

And choreographer Gattelli’s restaging of Jerome Robbins’ original “Small House of Uncle Thomas” proves a haunting — and dazzling — synthesis of Broadway and ballet.

The singing is equally impressive — not a surprise except in the king’s numbers, where Llana’s resonant voice imbues them (especially the trademark soliloquy “A Puzzlement”) with unexpected melodic power.

This production also provides an undeniable treat for the eye as well as the ear, thanks to Catherine Zuber’s Tony-winning costumes, Michael Yeargen’s flexible sets and Donald Holder’s richly evocative lighting.

“The King and I” may present a 19th-century tale — and represent the splendor of Broadway’s golden 20th-century era. Even now, however, you can still revisit, and rediscover, its wonders — as long as you’ve got a ticket.

Contact Carol Cling at ccling@reviewjournal.com or 702-383-0272. Follow @CarolSCling on Twitter.