Of course I saw the movie version on TV first. And probably at least a couple more times after that, also the movie version on TV. Back in the day, if you remember, many a UHF channel devoted their prime time schedule to old movies. And this was a timeless favorite so they played it frequently.
I fell in love with it from the get go. So when I learned that the tour was performing it in Boston before moving on to open once again on Broadway, I immediately bought my ticket and before long I was sitting in the audience of a Sunday matinee showing of it at the Wang Center for the Arts. Oh, and to top it all off, guess who was playing the lead as the eponymous King? None other than the master himself, Yul Fucking Brynner Baby! The year was 1984 and this very tour and the shows in New York the following year would be his last. He died of lung cancer in October 1985.
The musical was freakin' awesome, of course. The master played his role flawlessly. Well, except where his failing health intruded such as hitting those low notes in "A Puzzlement" and the galloping polka with Anna during "Shall We Dance" left him quickly wheezing and sweating profusely.
I went to the show that Sunday afternoon in September of '84 alone, but happened to notice a coworker friend from Wrentham with his girlfriend sitting a few rows ahead of me. The theater was only about half full, oddly enough, considering the popularity of this show and the star billing, but I guess the Boston theater crowd don't much go in for matinees. As the orchestra began the overture, my friend insisted I join them since the seat near him hadn't been claimed and I suddenly had a much better view.
And the curtains open...
As they did yesterday in downtown Orlando at the Walt Disney Theater in the Dr. Philips Performing Arts Center. Also a Sunday afternoon. Also in September. And, I was there, yet again attending alone. No friend to call me over this time. Wouldn't of been able to anyway since unlike my first experience, this showing was filled to the rafters. Well, let's face it, it's Florida. And here the blue hairs sure love their matinees.
How did it compare? Well, let's just say Yul Brynner would have been very, very proud. These guys nailed it! The songs, the dialogue and the sequence of the scenes portraying the familiar story were almost exactly the same. Of course they would be...why mess with greatness? There were some variances though.
Modern stage effects and lighting gave this a fresh and more contemporary look. The set design was awesome with a steamer boat transforming into a seaside Siamese village and huge pillars of the palace and even a 30 foot Buddha seemingly floating in air as the were dropped into place. I don't fully remember the look of the '84 show but I think it's safe to say since it was the '80s and minimalism in staging was in vogue then, it may not have been so elaborate.
Naturally the song lyrics and music were exactly the same but the actor who played the king (Darren Lee) did him a bit differently than Yul did. Not bad, just slightly different. For instance, the highly-exaggerated, supposedly-Thai accent Brynner used was toned down by Lee and quite a bit more flowing, less staccato. No biggie, but I'm thinking it may well be partially attributed to the fact that today's audiences would be a bit more racially sensitive and Yul's style might come across as a taboo stereotype.
And in that same vein, need I tell you that, of course, today's cast playing Asian characters were themselves really of Asian heritage? Can't have that perception of old school whitewashing.
(What, ghost of Yul? You were Asian. Um, not really. You were born in Vladivostok and your mother had a bit of Mongolian ancestry but you were pretty much white. That wouldn't float in our times, sir. Sorry.)
One big difference in terms of sound though was the fact that back in the '80s the players weren't miked as they are today with our modern flesh-tone miniature wireless mics. So even though I was, this time, back in the nose bleeds, I heard every word, every note as clear as a bell. Poor Yul, back then with his poor physical condition had to project.
All of the singing was flawless. And utterly beautiful. I especially liked Manna Nichols who played Tuptim, the Burmese slave gift to the King who is secretly in love with the ultimately-doomed Lun Tha. Her "My Lord and Master" was phenomenal.
Here's a quick rundown of some of my favorite things:
The awesome steamer ship in the very first scene and the dry ice fog...open it with a bang, set designers and artists...Bravo!
Anna's introduction to the royal children, especially the really little ones...so cute!
"I shall send President Ling-kon of America males elephants"
"Etcetera, etcetera, etcetera"
The whose head is higher game.
"I do believe in snow!"
"Guess what I have chosen to do?"
When the British entourage set to arrive in one week, Anna panics at the challenge of planning a banquet in so short of a time. The King responds "But in this same time your Moses says the whole world was created!"
The wives wearing Western armatured dresses exposing their undergarmentless bottoms to the British envoy.
The Small House of Uncle Thomas
"Run Eliza! Run Eliza!"
"The wicked king Simon of Legree!" (and that funky jazz hands thing)
The tearful ending when the king dies as his son is confidently proclaiming freedoms for the people of Siam. As the old ways fade, the new ways come rushing in.