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Fun and frills, but where was the King? One hundred
and twenty children of the Asian International School, between the
ages of six and 16 got on stage to perform their version of Rogers'
and Hammerstein's musical The King and I last weekend. They called
it The King of Siam. A misnomer: For the play seldom centred on
that one person, King Monkwut of Siam. It was more a celebration
of a group of kids having a good time. From the porters and sailors
on the ship in the opening scene to the solemn procession, the merry
wives and even merrier royal offspring, it was about kids having
a good time. Every single student on stage seemed to be enjoying
his/her role, whether it were a minor or major one. Talent there
was aplenty. Some of the actors and actresses were very good. Even
if they weren't, they were so enthusiastic that one failed to observe
that the lines were delivered a little stiltedly. And once they
burst into song they were even more impervious to the audience.
That's how
much they were enjoying themselves. The song and the dance were
the best features of the play. They were performed with gusto and
again a lot of enthusiasm. As Anna (Saveeta
De Alwis) walked on stage and a little while later burst into 'I
whistle a happy tune', it was obvious that here at least the casting
was perfect. She was educated, articulate and snobbish. A true Brit
spirit. If only the King of Siam could have been a match for her.
Someone forgot
that the play was renamed The King of Siam. King Monkwut had a few
funny lines (as befits a barbarian ruler?), but not through any
fault of his own, Saidomar Macasiling as the King of Siam, was overlooked.
The play never once focused on his dilemma, instead on his quaint
worldview. Tanya Rajendra
as Lady Thiang was impressive. She was strong, dignified and full
of feeling. The Kralahome (Juhani De Mel) was a powerful backup.
The doomed Tuptin was emotionally rendered by Savita Britto-Muthunayagam.
These three characters carried the play through, ably helped by
the supporting cast. On the whole,
it was a colourful production. The costumes were grand. All the
frills and flounces were in place. The song and
dance sequences were good; the choreography was wonderful and the
children (even the little ones) acquitted themselves well. In the
end it was a very good effort, but it could have been still better. Most Catholics
christen Easter morning by attending the Easter Sunday service at
their parishes, except a few like myself who stray from their parish
in search of a spiritual treat- listening to a different preacher
and choir. This Easter, a few friends and I decided that we should
attend the Easter Carol Service at St Peter’s College. The evening
was hot as usual with the fans in the chapel in an endless battle
with the smouldering heat. Then the lights were dimmed and we heard
an ensemble of an all male choir singing "Victime Pascale".
The simple Gregorian chant sung in unison with such majesty, took
the sting away from the evening heat and elevated us to a receptive
mood. The first 75
minutes of the Easter choral presentation featured the present students
of St Peter’s College directed by Priyanthi Seneviratne. The
selection of music was refreshing, catering to the younger generation
whilst maintaining the serenity of the programme. But it lacked
the variety in mood to hold the audience enthralled throughout.
The songs were sung in simple yet melodious harmony. The sopranos
of a very tender age did their best to maintain the balance with
the more skilled tenors and basses. A quartet and
a warm solo rendition of "Jesus You're the Sweetest Name"
added colour to the programme selection. I was overwhelmed by the
accompaniment provided by the instrumentalists- organ, piano, double
bass and trumpeters. The trumpeters did exceptionally well to pitch
right and mellow. Next on the
programme was the Peterite Chorale consisting of past pupils marking
their 10th year. A battalion
of 40 was directed by Stefan Corera. The selection of music was
excellent as it contained a mix of Negro spirituals, evergreens
and the classics in the likes of "The Holy City" rich
in harmony and powerful in impact. An invigorating rendition of
"Amazing Grace", gave the congregation something to join
in with much gusto. This formidable group of 40, masterly handled
the dynamics. They knew the distinction between being loud and rowdy.
However at
times the upper ranges tended to be outdone by an evidently strong
bass lineup. The intricate harmonies were held consistently throughout
their work, and the dexterity with which their selections were rendered
should be applauded. The divine beauty of the human voice reigned
supreme. The Easter choral presentation of St Peter’s College was spiritually and musically rewarding. The lack of a theatre atmosphere with colour, movement and costume did not for a moment steal the grandeur of the evening. Fine spiritual music in the sanctuary of God is yet, rewarding and enduring.
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