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 It is a work of fiction and yet… This is where unity in diversity intensifies. In the most unlikely setting and the bias of Father Time, two cultures meet and reveal each other’s strengths and weaknesses– each marching to their own drummer.
One is from intellectual backgrounds where civilization is at its height. While the other, a carelessly offensive monarch feeling omniscient in a colorful country.
This is a work of fiction and yet… Like paint of vibrant colors splashed onto a grayscale canvas, this is the story of how two utterly different worlds collide. Two contrasting cultures: one of continual progress and courtesy while the other almost left behind by civilization yet still refusing change. What are the chances of these two extremes meeting in between? AS THE STORY UNFOLDS... “The King and I” is the Center of Culture and the Arts’ performing company’s (Tanghalang SLU, Dance Troupe, Glee Club) rendition of Pulitzer Prize winning theater buddies’, Oscar Hammerstein II and Richard Rodgers, classic. Rodgers and Hammerstein are also notable for their wonderful musicals like “The Sound of Music” and “Oklahoma!” Set in the 1860s, this is a story about Anna Leonowens, an attractive English school teacher hired by the King Mongkut of Siam—in his attempt to transport Western culture to his country—to teach his royal princes and princesses. In the palace grounds, Anna and her son Louis learn to adapt to the strange culture of the Siamese especially the King’s air of arrogance. News then reached Anna of letters discovered by an agent from Singapore to the British describing the King of Siam as a barbarian. Having been immersed to the constricted and conservative Asian culture Anna knows the ups and downs of the nation. So she decides to speak to the King and together they made a plan on how the King could prove himself otherwise. The English were very much entertained and the visit was a huge success. Sir Edward Ramsey realized that the Siamese are cultured and not barbarians.
In the end, the king falls seriously ill and Anna decides to stay for she cannot find it in her heart to leave a country, and her pupils she has come to love. The King dies and the crown is passed on to the heir of the throne Prince Chulalongkorn as King Rama V. BEHIND THE CURTAINS The planners of the show went to great lengths to produce a cast of genuine talents onstage. After all, complacency is a sin in the theater. Anna Leonowens (Jessica Junio-Sta. Maria, Ingrid Payaket, Faye Bautista) is a well-rounded, intelligent woman where OFWs could be linked to. That is, amid the blazing aptitude lies a heart for his fellows. The King (Sir Dan Rommel Riopay, Marcel Villanueva, Aldrian Esteban) is more like typical politicians who love their authority and toys with it; but unlike the King, not all politicians admit their offenses. The other characters who made the plot more exciting are Tuptim (Jessica Ladines, Ma. Leslie Baculi, Christian Marie Guzman), Lun Tha (William Agustin, Jerome Manantan, Delfin Hortaleza), Lady Thiang (Michelle Monzon, Adalyn Marie Guzman)—the King’s head wife, and the King’s son and heir (Lloyd Benter). The endearing kids who added a cheerful color and made the crowd sheer are extracted from auditions. However, there are also magnetic performers who are worthy of more than the applauses. Faye Bautista succeeded in making the audience wow with her drazzling voice and kaleidoscope of emotions. All who appeared for the King exuded charm and authority, and Lloyd Benter—the only one who appeared for Prince Chulalangkorn in the nine days theater show—caught full attention from the viewers of his command in his script. Sir Dan Rommel Riopay, director of The King and I and the chairman of the annual SLU Drama Festival assured us that every element in the play is CCA original. The Architecture Department from the College of Engineering and Architecture was placed in charged of the stage and set designs. The colorful intrications in the props and set used makes the experience truly Thailand. This is also matched by bright colored costumes of silky yellow and pink. CCA proved their ability once again in producing striking choreography. Timing and coordination is definitely precise. The musical “The Small House of Uncle Thomas,” created an exciting break for the viewers. They toyed with the stage by spicing it with smoke, fire and masks. Once again, another noteworthy performance by the SLU-CCA performers added to their long list of outstanding theatrical plays and the counting doesn’t end here.
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