We round up the reviews for this revival of the classic Rodgers and Hammerstein musical which is in the West End for the next six weeks.
Broadway World: **** “George is absolutely charming; slightly prim, very proper and very at home in her foreign surroundings. Her voice is clear and crisp, but needs a little more power at times.”
Evening Standard: ** “Bartlett Sher’s revival of his 2015 US production comes to London after a year-long UK tour: it’s technically competent but stolid and stale. Rather than interrogate the racial stereotyping of the script, the pidgin English and the periodically sing-song score, he gives us the full gamut of orientalism.”
WhatsOnStage: *** “The staging throughout is crisp and classy, a particularly striking moment being the full company walk down in the run-up to the tragic final scene, suggesting a communality in the loss of a beloved monarch, that transcends time and place. Choreographer Christopher Gattelli wisely preserves Jerome Robbins’s exquisite, witty dances for the centrepiece “Small House of Uncle Thomas” ballet that drives the drama of much of the second act, delivered here with precision and passion by a superb company of dancers.”
London Theatre.co.uk: **** “Golden Age musical pleasures with a dash of contemporary wisdom: it’s a pretty heady combination. Shall we dance? You’d be a fool to refuse.”
Theatre & Tonic: ***** “The set (Michael Yeargan) and costume design (Catherine Zuber) are some of the stars of the show and is to great credit to the overall performance. From the moment the curtain opens onto the docks of Anna arriving in Siam to her first entrance into the palace, every scene is breathtakingly designed. The costumes truly reflected the essence of Siam and of their culture. Magnificent and modest, each character sparkled beautifully and could stand out. With excellent direction by Bartlett Sher, no space was left unfilled even when there was only one member of the cast on stage at the time, a wonderful feat for a stage as big as the Dominion’s.”
City Am: *** “here are some lovely moments, not least Lady Thiang’s Something Wonderful, which, sung beautifully by Cezarah Bonner, has the line “the man who needs your love can be wonderful,” denoting the Syamese resistance to the tide of western belief that said women should no longer look after their men. It feels good to hear the Siamese thoughts evocatively presented, but there isn’t enough where this came from.”
Time Out: *** “The arrangements are beautifully done. ‘Getting to Know You’ is charmingly sung by George, who channels an exasperated Julie Andrews in her engaging performance. Darren Lee’s manchild king, whose curiosity about the world turns him stroppily insecure, makes for a strong scene partner. When the show zeroes in on their zingy chemistry, it’s fun. And at the level of spectacle, it’s pretty gorgeous to look at.”
The Guardian: *** “The operetta-like numbers are unassailably winning, and Sher’s sharpest insight is how that glorious music is piqued by worry. Songs in the shadow of power can’t escape an extra frisson of fear.”
West End Wilma: ***** “Bartlett Sher’s production of The King and I is absolutely stunning. Fans of the musical will love seeing the familiar characters and hearing the melodic score once again and new audience members will be wrapped up in the glitz of this beautiful production. Playing a limited six-week run at the Dominion Theatre, make sure you get tickets to this musical theatre masterpiece.”
The Telegraph: *** “It’s not a total over-reaction to find the musical ‘problematic’, but there is still plenty to enjoy in this sumptuous production.”
All That Dazzles: **** “Helen George, best known for Call The Midwife, stars opposite Broadway star Darren Lee – the two are a strong match and have a compelling, richly-felt chemistry. Whether verbally sparring or seeming on the verge of a passionate embrace, both radiate a sense of familiarity and deep-rooted affection. Essential for the leading lady of a Rodgers and Hammerstein piece, George had a gorgeous and versatile voice – whether giving the requisite weight to the sung-spoken “Shall I Tell You What I Think of You?” or gliding smoothly into a bright, ringing soprano on “Hello Young Lovers”, George sounds consistently exquisite.”
British Theatre Guide: “Vocal prowess, however, does not overcome director Bartlett Sher and choreographer Christopher Gattelli’s puritanical approach to Tuptim’s duets with her forbidden lover Lun Tha (Dean John-Wilson), leaving their secret meetings for “We Kiss in a Shadow” and “I Have Dreamed” drained of sexual tension. The greater disservice though is to the story, since it fails to draw a parallel between the genuine love and passion between them and the love driven by obedience and devotion to service that the King’s wives have for Mongkut.”
The Reviews Hub: **** 1/2 ” The King And I shines a light on a country in change and delivers it with an impact and honesty that is both surprising and refreshing for a musical of this nature. With stellar performances, a glorious soundtrack, and a story of a nation in flux, it is a mighty piece that is beautifully delivered. Political narrative aside, this is a hugely enjoyable production that does honour to the golden age of Hollywood musicals.”
London Theatre 1: *** “The production is epic in scale and Catherin Zuber’s costumes are sumptuous as befits the royal court of Siam. However Michael Yeargan’s set design is a bit of a disappointment.”
The Stage: *** “Bartlett Sher revives this Rodgers and Hammerstein musical with humour and humanity.”
iNews: *** “George and Lee lead us confidently through the stages of this abrasive pair’s blooming friendship, even though I struggle slightly now to locate the emotional charge that so spoke to my teenage self.”
The King and I continues to play at the Dominion Theatre until the 2nd March 2024. To book tickets click here.