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Nonpariel | PerformanceOmaha.com
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Dundee musical performance fit for a king
WARREN FRANCKE , For the Nonpareil 01/22/2004
This review comes with a theory. "The King and I" at the
Dundee Dinner Theatre is more enjoyable than ever, thanks to watching
the movie umpteen times with granddaughters.
Since that doesn't apply to every reader, suffice
it to say that familiarity breeds affection and supplies visual
memories. It also makes it interesting to see how a real-life married
couple, D. Laureen Pickle and Don Nguyen, play Anna and the King
of Siam. Unless the DDT corrects its program, you won't find Don's
name on the cast list, but Chanticleer followers know both these
fine performers.
The comedic flair Pickle displayed in Chanticleer's
musical about the artist Seurat bubbles up, especially in "Shall
I Tell You What I Think of You?" She teaches vocal music at
Creighton University, and that talent shines through, especially
in "Hello, Young Lovers."
Nguyen's timing wins more laughs than Yul Brynner's
king could imagine. Yet he does justice to the monarch's complexity
as he struggles with the modern world represented by Anna. The father
of 77 snaps his fingers at groveling wives, but can't cow the Englishwoman
who comes to teach his children. The role doesn't require a great
voice, but Nguyen's treatment of "A Puzzlement" was disappointing.
Director Michal Simpson let this pair lead with
their strengths and share the spotlight. Mary Carrick, Derrick Crawford,
Jennifer Witt and Roderick Cotton add immeasurably to the enjoyment
of this production.
"I Whistle a Happy Tune," "Getting
to Know You" and "Shall We Dance" might be better-known
songs, but Carrick's operatic rendition of "Something Wonderful"
was the vocal highlight of the evening. Crawford's Kralahome, the
menacing prime minister, was an impressive presence.
Another fine Rodgers and Hammerstein song, "We
Kiss in a Shadow," was done by Witt and Cotton as the young
lovers with "wings on their heels." Her voice has a youthful
clarity that compares well with the mature fullness of Carrick's
power. Cotton's forte is dance, so he shines brightest as Simon
of Legree in "The Small House of Uncle Thomas" production.
(Choreographer Wai Lim will take this role later in the run.)
Stage veteran Don Harris joins some enjoyable young
performers in supporting roles. Alexander Kanan, as the crown prince,
and especially Nathan Rischling, as Anna's son, did well as counterparts
of the lead characters.
But you don't have to be W.C. Fields to know that
it's easy to be upstaged by the tiny tots. The Act One "March
of the Siamese Children" paraded appealing youngsters, including
3-year-old Jillian Dinkel. She looked like a handful for the older
child assigned to keeping her from wandering off.
The scene-stealer, though, was 7-year-old Yasmeen
Bora, who stepped into the spotlight as the little Buddha. Bio sketches
seldom sneak into reviews, but we learn that she's been studying
dance and violin for at least three years. And she'd already played
one of the royal children at Northwest High. She wasn't just cute,
she was perfect.
If Yasmeen was a pleasant surprise, Mitch Fuller
was a sure thing. His musical direction and accompaniment matched
high expectations.
"The King and I" continues through Feb.
21 on Underwood near 50th Street in the heart of Dundee. Dinner
is optional, as are beverages and desserts.
Polished
production can only get better
Julien R. Fielding - Performance
Omaha
The King and I is a frequent staple of high schools, universities
and community colleges. Because it’s put on so many times,
many of us dismiss it outright. "Not that old thing again,"
we say as we try to find something more innovative; something less
"well worn."
For someone who falls into that camp, I now realize why it gets
trotted out over and over again. Yes, it has a gorgeous score by
Richard Rodgers and Oscar Hammerstein II. And it also sports some
marvelous costumes and set design. But what seems most remarkable
to me is that underneath all of the exoticism and beauty exists
a more human tale about the battle of the sexes and the clash of
cultures.
For the three
people who might not know the story, Anna (D. Laureen Pickle) and
her son (Nathan Rischling) voyage to Siam. She has been hired by
the King (Don Nguyen) to educate his enormous brood, comprised of
wives and offspring, in the ways of the West. Immediately, Anna
is a bit unsettled by this strange land and people, but she’s
more bothered that not all of the conditions of her and her employer’s
contract have been fulfilled. The biggest bone of contention is
that he’s promised her separate living quarters and instead
is making her life in the palace. But there’s more. Anna is
an independent, educated woman who, although open-minded, is appalled
at how the wives and concubines are treated. She will not bow to
him nor be told what to do. Changes will be made one way or another.
The funniest
moments of the musical occur between Pickle and Nguyen, real-life
wife and husband. She plays her Anna as headstrong, opinionated
and no one’s fool; he plays the King as an impatient, petulant
and ego-centric man, but one who can see the writing on the wall.
He’s smart enough to know that if he doesn’t change,
he will lose his country. Watching Nguyen stomp around, feign understanding
and manipulate the people and situations around him is the best
time you’re going to have this month. He should get a TAG
award for this performance, as I think it’s some of his finest
work.
The show has
so many bright moments that it’s difficult to keep tally.
The mad whirl that Nguyen and Pickle take around the small Dundee
Dinner Theatre stage is great, as is the hilarious School Room Scene,
in which Lady Thiang (Mary Carrick) tries to explain what the symbols
on a hand-drawn map mean. The most touching scene occurs when the
King, this larger-than-life being, no longer knows what to do. He
is conflicted and Nguyen really punches you hard with his inner
turmoil. Anna, too, is confused and torn by her relationship with
the King, his family and Siam.
This cast couldn’t
be better. Carrick brings real humanity to her character as the
No. 1 wife. With her broken English and obsequious manner, there’s
something almost sad about this woman who must share her husband
with so many others. Her solo Something Wonderful is warm and engaging.
Derrick Crawford, who sadly doesn’t sing in the show, is commanding
as Kralahome. He comes across as a force to be reckoned with. And
Jennifer Witt, who plays Tuptim, the "gift" from Burma,
makes the most of her Romeo and Juliet moments with Roderick Cotton,
who plays Lun Tha. It goes without saying that her songs, My Lord
and Master, We Kiss in a Shadow, and I Have Dreamed are reasons
to see King and I for the 100th time.
Another reason,
I think you should give it another go is the story. It’s the
classic East vs. West dilemma, but I think the Thai people are given
more humanity in this treatment than even I expected. The first
hint of this can be seen in the song, Western People Funny, during
which the King’s wives must endure corsets and shoes. Watching
that sequence brought home the embarrassment of cultural imperialism,
which so many European countries frequently engaged. The French,
Dutch, Italians, Spanish, British, Germans, etc., roamed the world
looking for people to conquer, always justifying their actions by
reducing the "other" to terms like uncivilized and barbarians.
The King, in this musical, is trying desperately to hold onto his
country while retaining his culture. However, when Anna comes to
Siam his job becomes much more complicated. Is the Western way really
better? Or can we learn something from the East? Things like loyalty,
honor and respect.
Stephen Sondheim
looked at these same conditions in Pacific Overtures, only this
time he focused on Japan before and after the West had come knocking
with canons and warships. (The song Please Hello encapsulates it
all.) Somehow I think that maybe Sondheim had King and I in mind
when he wrote Pacific Overtures.
Knowing that
this cast had approximately two weeks to pull this show together
is a testament to their professionalism and abilities. Seeing how
well it ran on Saturday, I can only imagine that by the end of the
run, it will be amazing.
The show continues
through Feb. 21, with performances starting at 8 p.m. Thursdays
through Saturdays and at 2 p.m. Sundays. An optional, reservations
only, dinner is available at 7 p.m. Fridays and Saturdays. (At $3.75,
the desserts are pricey but delectable. Try the chocolate chip cookie
cake!) Ticket prices range from $13.50 to $24.95. Group rates are
available for parties of 20 or more. For information and reservations,
call the Dundee Dinner Theatre at 558-8535.
Review:
Actors work magic with 'The King and I'
BY BOB FISCHBACH
WORLD-HERALD
STAFF WRITER
Avid Omaha theatergoers need hear only that a musical directed by
Michal Simpson stars D. Laureen Pickle and Don Nguyen to know they're
probably in for a treat. In
the case of the Dundee Dinner Theatre's "The King and I,"
they would be entirely right, and for more reasons than this multitalented
trio. But
they are reason enough.
The silver- throated Pickle works up an impressive head of steam
as Anna, a spirited widow who has shipped off to Southeast Asia
circa 1861 to teach the children of the king of Siam. Upon
arrival, she finds that his majesty is a sexist with an outsized
ego and some outdated ideas on how to rule.
Nguyen, in the
role made famous by Yul Brynner, is razor sharp - sharp enough to
make 40-year-old dialogue as fresh and funny as last week's "Will
& Grace." Nguyen's delivery and timing consistently drew
bursts of laughter from a preview audience of 60 last weekend.
Nguyen and Pickle,
married in real life, bring enviable chemistry to the clashing opposites
onstage. And they make these well-worn characters distinctly their
own.
Nguyen is a
crackup delivering "A Puzzlement," while Pickle melts
hearts on "Whistle a Happy Tune" and "Getting to
Know You."
She peaks spewing
righteous indignation in "Shall I Tell You What I Think of
You?" It's possible to forget how good Rodgers and Hammerstein
were with singable tunes and great lyrics, until Pickle lets loose
with "A flock of sheep and you the only ram; no wonder you're
the wonder of Siam!"
Director Simpson
knows his way around a tiny stage: Keep the dance moves, on which
he teamed with Wai Yim, simple, and find inventive ways to get the
masses on and off quickly. At 2 hours and 40 minutes with intermission,
the show can't be allowed to drag - and it rarely does until the
last half-hour.
Ron Osborn and
Ralston Costumes meet the challenge of splash on a budget in dressing
the cast. Musical director Mitch Fuller has enviable singing talent
to work with, and work he has.
Mary Carrick,
as the crown prince's mother, displays regal stage presence and
lush vocals on "Something Wonderful," and Jennifer Witt
wows across several soprano octaves as Tup Tim, a girl gifted to
the king though in love with another. Roderick Cotton, as her lover,
offers a fine tenor voice and acting promise, once shed of opening-night
nerves.
Strong character
work comes from Don Harris as both the ship's captain and a visiting
British diplomat, and from Derrick Crawford as the king's wise and
stern chief of staff.
Also fine are
Nathan Rischling, as Anna's son, and Alexander Kanan, as the king's.
A passel of royal children charms without guile.
The Uncle Tom's
Cabin scene felt long, as it usually does, and ditto the sickbed
scene, but it does put a lump in the throat as you leave, whistling
a happy tune all the way home.
In the end,
though, it's the inspired pairing of Nguyen and Pickle that make
this a show to remember.
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