From: rtut@troi.cc.rochester.edu (Raymond Tuttle)
Newsgroups: rec.arts.theatre
Subject: "The King and I" - review of new recording
Date: 5 Jan 93 22:50:50 GMT
Organization: University of Rochester (Rochester, NY)

Philips Classics has put together a new recording of Rodgers and
Hammerstein's "The King and I" starring Julie Andrews and Ben Kingsley in
the title roles (438 007).  At over 64 minutes, this is the most complete
recording yet, and it includes music from the 1956 Twentieth Century Fox
soundtrack, as well as from the original 1951 Broadway production.  

That production was inextricably linked with Gertrude Lawrence and Yul
Brynner, but this recording demonstrates that The King and I doesn't need
their larger-than-life personalities to succeed.  Much of this success must
be credited to conductor John Mauceri, who, with John McGlinn, has become
a major force in the revitalization of many classics of the American
musical theater, at least on discs.  Mauceri shows that this music is
worthy of being treated with respect and scholarly consideration, and his
understanding and affection for this medium is clear on this and other
recordings. 

Perhaps this disc will be the start of a come-back for Julie Andrews,
whose career has been muted for many years amid rumors of problems
with her voice and her self-confidence.  Based on her performance here,
she shouldn't worry.  She has more voice than Gertrude Lawrence ever did,
and she is a better vocal actress as well. There is a trace of caution and
reserve in her performance, but they fit the character.  So what if she no
longer has the vocal resources that she had 30 years ago?  Her voice is
still a pleasure to hear, and her winning personality is completely intact.  

Ben Kingsley also was a good choice for the role of the King, and not just
because of his hair-style (who's next, Patrick Stewart?). His performance
owes a lot to Brynner's, but perhaps this is unavoidable.  This recording
gives him more to sing, if singing is what his manner of vocal production
can be called, and he makes the King into a believable three-dimensional
character. 

The lovers Tuptim and Lun Tha are sung by Lea Salonga and Peabo Bryson.  
They both have attractive voices, but their performances are slightly
coarsened by the popular music mannerisms (breathiness, scooping from
note to note) which they try, but not always successfully, to suppress. 
Still, it sounds like their hearts are in the right places. 

Marilyn Horne makes a brief appearance as Lady Thiang to sing "Something
Wonderful".  I found this a little disturbing since Miss Horne probably could
strangle the King of Siam with one arm tied behind her back. (Horne, by the
way, was in the women's chorus in the movie soundtrack).  There are other
brief cameos from Roger Moore (as Sir Edward Ramsey) and Martin Sheen
(as the King's Prime Minister).  The Hollywood Bowl Orchestra is used for
this recording. 

The feeling of listening to a movie soundtrack rather than a stage
production is heightened by the recording itself, which sounds like it was
made in a "pop" recording studio rather than in a spacious hall or theater. 
The voices are right on top of the listener; I would have preferred a more
realistic sound picture,  but this won't be a problem for all listeners. 

We badly need to take a new look at Rodgers and Hammerstein's "Oklahoma"
now (apparently a recording with McGlinn conducting fell through more
than a year ago), and also at "Allegro," a largely forgotten and somewhat
experimental show which anticipated Company and other works by Stephen
Sondheim.  John Mauceri probably would be a good choice to lead such
projects. 




--
****************************************   Raymond S. Tuttle
"Dunkel ist das Leben, ist der Tod,"       University of Rochester
but it's nothing to get depressed about!   (still with his two little 
****************************************   white mice).