The WoolstoreTheatre summer production of one of Rodgers and Hammerstein’s bestloved musicals, ˜The King and I’, played to full houses between 23 ^rd -26 ^th June. This was a truly outstanding offering, the costumes were sumptuous, the scenery exquisite and the actors excelled in the story of aVictorian governess and her son at the court of the King of Siam.

Brenda Mears who had played Anna on the stage in Cyprus in the late 1950’s, directed with a sure touch, delivering a wonderful interpretation of the exotic emotionally charged life in the Far East in the middle of the nineteenth century.

Following Yul Brynner in a role he made his own on screen and on the London stage [I saw him in both] is a daunting task for any actor, but Mark James made the part his own last week, with a truly remarkable performance. He was able to capture the contradictions of the King, haughty but uncertain, touching and funny, with the sure touch that has earned him rave reviews in other productions including The Dame last December in ˜Sing A Song of Sixpence.’ Mark has impeccable comic timing; the scene where he is seeking advice by asking Anna what she thinks he will do is a gem.

Hannah Sandu gave an accomplished performance as Anna, a perfect foil for the King, calm and determined but gradually falling under the spell of the mysterious East and its fascinating people. An accomplished musician, this was her first major role at the Woolstore; in the light of her performance it will not be the last.

Olivia Hodgson stepped into the role of Tuptim with just two weeks notice, although this was her debut in Codford she has performed with the Salisbury Operatic Society for the last five years most recently in the recent production of ˜The Full Monty.’ She gave a radiant performance, her clear soprano perfectly capturing the anguish of forbidden love.

Jordan Taylor played Lun Tha on the night I attended, it was a coming of age role, having watched him for ten years on the stage through 14 shows I have seen him grow from a talented youngster to a dashing romantic lead.

Two performances in significant roles were particularly worthy of note, Caron Merchant gave a gentle, beautifully judged performance as Lady Thiang, the chief wife and Adrian White was an impressively powerful Kralahome.

Following his leading role in ˜Carries War’ Joshua Rogers delivered another confidently natural performance as Louis Leonowens Anna’s son. Although only 11 Joshua has an impressive acting record including Squint in ˜Sing A Song of Sixpence’, Oliver Twist in ˜Oliver’both at the Woolstore and the main part in his school production on ˜Charlie & the Chocolate Factory.’

PrinceChululongkorn was played by Alex Carol [12] who had a minor role in ˜Carrie’s War,’ he performed creditably in his first real part as the heir to the Siamese throne. This is a play that requires a lot of child actors, royal pupils, guards, slaves, wives & dancers without exception all worked incredibly hard ensuring that the evening was a visual and artistic delight. The intricate dancer outines were the work of choreographer Alka Bishop who trained in Bharat Natyam, classical Indian dancing.

The evocatively sets built by Antony Barrington-Brown and Michael Found, lovely scenery painted by Althea Wynne, Christine Powell and Mike Bremridge perfectly capturing the charm of old Siam. Michael Found was also responsible with William Trojak for the lighting. A musical is at the mercy of its musicians, percussionist Matt Spencer, clarinettist David Davis and pianist and musical director Faye Caley were integral to the success of the show.

For four very hot June evening’s audiences were treated to a gem of a show, it was easy to imagine oneself in the claustrophobic luxury of the palace and to the lost in the magic of tale well told. Familiarity never dulls this story, I have seen both films several times, and three different stage shows, I still cry at the last scene every time the King dies and I loved every minute of this production.

Romy Wyeth