Beautiful designs help bring 'King and I' to life

By Joseph T. Rozmiarek
Advertiser Drama Critic

Ray Bumatai is the King of Siam and Tina Shelton the school-teacher Anna in "The King and I." Advertiser library photo • Nov. 16, 2004 'The King and I' 7:30 p.m., today, Friday, Nov. 27, Dec. 3 and Dec. 4 Richardson Theatre Tickets: $17, $14 Information: 438-4480

Set designer Tom Giza has produced a show curtain suitable for framing, a solid throne room trimmed in gold, and a palace garden by moonlight that draws sighs from the audience.

The elegant and exotic style is a good match for this 50-year-old musical set in mysterious Asia, where a stubborn, young widowed schoolteacher confronts an equally stubborn despot King. It's filled with an excessive number of sprightly songs like "I Whistle a Happy Tune" and "Getting to Know You" and soulful, introspective melodies like "Something Wonderful" — all now American classics.

Musical director Daren Kimura pulls out this musical richness with an excellent large orchestra and a cast of principal performers who can individually carry all the sad and happy tunes in the show.

With his shaved head and barrel chest, Ray Bumatai is a physically commanding presence as the King of Siam, torn between royal prerogative and the need to protect his small country on the competitive world stage.

He also adds the right mix of playful humor to balance his imperious stature and a bit of sly cunning to show he's more than a blend of despot and buffoon. His disintegration at being unable to whip the disloyal Tuptim is chillingly believable when the plot calls for it.

Tina Shelton as Anna is gracious and lovely in the Deborah Kerr mode. She has a pretty though not notably strong voice, and brings the necessary civility to a character who unknowingly brings down a regime by simply trying to help.

Her "Hello Young Lovers" has the right personal undercurrent, and her subliminal attraction to the King is sensed without becoming a torrid psychological undercurrent.

But when Bumatai locks her into a close embrace for the waltz sequence, "Shall We Dance" becomes more than an up-tempo number.

It's also a physical and mental release allowing the characters to expend sexual energy in a safe way. Jim Hutchison's choreography takes them around the throne room while — psychically — they're whirling across the walls and ceiling.

Supporting roles are also well cast.

John Tolentino is appropriately gruff and aloof as the Kralahome and Cheryl Toma Sanders brings a lovely voice and queenly presence to Lady Thiang. Sherry Chock Wong and Elitei Tatafu Jr. look and sound appropriate as the young lovers and their duet on "We Kiss in a Shadow" has all the right longing and poignancy.

Colorful Victorian and Siamese gowns complete the exotic look. One might only wish for more children in the cast.