The King and I
Anna Leonowens: Betsy Morgan
King of Siam: Adam Jacobs
Lady Thiang: Christine Bunuan
Tumptim: Paulina Yeung
Lun Tha: Ethan LePhong
Louis: Braden Crothers
Prince Chulalongkorn: Matthew Uzarraga
Kralahome: Karmen Bajuyo
Captain / Sir Edward Ramsay: Victor Holstein
Eliza: Kristine Bendul
Simon of Legree: Kenway Hon Wai K. Kua
Topsy: Ayana Strutz
Eva: Michiko Takemasa
Ensemble: Chih-Jou “Roro” Cheng, Mai Claypool, Hannah Fernandes, Albert Hsueh, Kevin Kulp Anthony ChristopherMilfelt, Nich O’Neil, Yuki Ozeki (Dance Captain), Aurora Penepacker, Richel Mari Ruiz, Garrett Shin, Marissa Swanner
Children: Avelyn Choi, Dante Garcia, Enzo Garcia, Elle Laroco, Vin Laroco, Rika Nishikawa, Alexandrya Salazar, and Nolan Maddox (Louis Alternate)
Drury Lane Theatre (April –May 2022)
Creative Team:
Choreographer: Darren Lee
Music Director: Tim Laciano
Set Designers: Wilson Chin and Riw Rakkulchon
Costume Designer: Izumi Inaba
Lighting Designer: Eric Southern
Reviews
“...Director Alan Paul’s staging of the Richard Rodgers and Oscar Hammerstein musical looks lavish and sounds splendid. That iconic score -including “Hello, Young Lovers,” “Getting to Know You” and “Shall We Dance” - is delivered with robust vocals and choreography rich in gorgeous pageantry.”
“...The production is vocally and visually stunning under the magnificent and carefully guided direction of Alan Paul.”
“...One of the beauties of Drury Lane’s current revival (and there are many) is that it strips away much if not all of the quaint G&S-style Orientalism that has marred earlier productions and muddied the message of a show that, though told from the point of view of the governess, works hard to provide as clear-eyed a view of the historic court of King Mongkut of Siam as you can provide in a three-hour Broadway musical.”
““The King and I” might seem to be about the relationship between the authoritarian King of Siam and his feisty hired schoolteacher, but it’s also about change, acceptance and mortality. And they filled the stage with the king’s children, whose presence reinforces the tone they wanted for their entertainment aimed, like all their work, at middle America: hopeful, humanistic, bright, sweet, loving.”
