As the Producing Director of the newly formed Lincoln Center Musical Theater (1964), Richard Rodgers decided to produce as his first production,  The King and I.  Rodgers definitely had a soft spot for operatic voices in the lead roles of his musicals, and for this production, he chose Rise Stevens.  Stevens had been one of the reigning mezzos of the Metropolitan Opera and during the previous two decades she seemed to own the role of Carmen.  For his king, Rodgers cast Darren McGavin who was primarily known as a TV and film actor. Frank Porretta and Lee Venora are Lun Tha and Tuptim and the role of Lady Thiang is performed by Patricia Neway

First, let me say that this is a beautiful recording.   Though recorded over forty years ago, this remastering shows no effects of age.  The orchestra, conducted by Franz Allers, is marvelous and adds great support to these very operatic performances.  From the opening chords of the overture, it is clear that you are in for a treat.  The orchestra sound is lush and dramatic and this kind of full orchestra is often what we miss in many of the revivals of recent vintage.  Allers makes the orchestra almost sing, and the colors that he brings out in the score are certainly the best of any recording I know.

I was first attracted to the album because I have always been a fan of Rise Stevens.  There are few recordings available of Ms. Stevens and when I saw this, I grabbed it.  I was certainly not disappointed.  Stevens is not my favorite Mrs. Anna, I am partial to the studio cast recording made by Julie Andrews, but she brings a richness that grows on you with each hearing.  Not a vowel nor a consonant is lost and, with Stevens’ great breath control, the lyrics of Oscar Hammerstein II are allowed to really shine. “Hello Young Lovers” is rich and lush, “Getting to Know You” and “Whistle A Happy Tune” are lilting and “Shall I Tell You What I Think of You” is pointed and dramatic and Mrs. Anna’s rage is quite evident.

Darren McGavin is not the King of Yul Brynner, but with the exception of parts of  “A Puzzlement,” he gives a credible performance.  There can be no doubt, however, that this musical really belongs to Mrs. Anna.  This cast and this recording were certainly an indication that Richard Rodgers wanted to return Mrs. Anna to the leading role.

“My Lord and Master”, “We Kiss in the Shadow”, “Something Wonderful” and “I Have Dreamed” are quite operatic pieces and here, Porretta, Venora and Neway do them real justice.

It is also interesting to note that “The Little House of Uncle Thomas” was not on the original recording and appeared on record for the first time on this recording.

It is hard to keep buying recordings of The King and I, but this is one that deserves to be on your shelf.

Categories: Revival Cast Recordings
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