Chicago Tribune - Somewhat Recommended
"...It doesn't all work. I was confounded by the final scene, wherein so much is made of the position of courtiers' heads in relation to the king that the entire show pretty much turns on the issue. And yet Stearns has a bunch of decorative people standing taller than the king, which seems to fight all that the scene is supposedly about. In general, the main flaw is a desire to do “The King and I” as if this were a much larger theater, which is not entirely possible, rather than cut away the unnecessary and focus on telling the story in a fresh, intimate way. One wishes more had been made of the relationship between the performers and the two skilled pianists, Eugene Dizon and Allison Hendrix, who tend to play at a certain theatrical remove, rather than cooperating more gently and organically with the singers."
Chicago Sun Times - Somewhat Recommended
"...For its first attempt at a Rodgers and Hammerstein work in its 16-year history, Porchlight Music Theatre Chicago has chosen “The King and I,” which also serves as the final production staged by longtime artistic director L. Walter Stearns, who is moving on to run the Mercury Theater. (He will be succeeded at Porchlight by Michael Weber.) And while no one would mistake this uneven rendering for a Broadway-level revival, it certainly is a hugely ambitious undertaking for Porchlight — one that grows stronger as it unspools, and one that in its modest way contains a number of charming elements."
Chicago Reader - Somewhat Recommended
"...The lack of pretension gives this intriguing Porchlight Music Theatre production the feel of a chamber piece, turning it into a kind of Palace Confidential. That intimacy doesn't extend to the performances, though. As Anna and the king, Brianna Borger and Wayne Hu sing beautifully but generate zero chemistry."
Centerstage - Highly Recommended
"...Most directors can only envision their musical productions as big and splashy. L. Walter Stearns reimagines Porchlight Music Theatre’s current offering, his swan song as Artistic Director, as an intimate Rogers and Hammerstein treat, proving that less is more. With such intimacy comes a special connection between cast and audience that’s often difficult to achieve. But achieve they do, and then some."
Time Out Chicago - Recommended
"...The decision to slightly caricature the King (Wayne Hu, who moves in sharp angles with chest comically puffed out) seems an apt response to the stereotypes inherent in the role. But Hu’s King is a blowhard and buffoon to the bitter end. Intriguingly, this rather relentless portrayal reminds us that, despite our P.C. protestations, we really may want Anna to “civilize” the King. Still, this mini insight never feels as rich as an evening with a fully rendered narrative arc."
ChicagoCritic - Highly Recommended
"...This intimate, colorful, exquisitely sung production is a treat. You’d be hard pressed to see a finer production of this beloved classic despite the limited budget that Porchlight Music Theatre has. Wayne Hu’s King was commanding and Brianna Borger’s charismatic Anna was refreshing. I was most impressed with production. You’ll be entertained and you’ll live humming the fabulous R & H tunes. “Getting to Know You” is still stuck in my head – it makes me smile."
Chicago Stage and Screen - Highly Recommended
"...“The King and I” produces much more than a unique storyline. Rodgers and Hammerstein’s musical score contains some of the most beautiful music ever created. And with the new arrangement by Eugene Dizon, the score could not be any more majestic. Choreographer Brenda Didier returns to Porchlight to add her vivid tastes to the production. Didier was the musical genius responsible for Theo Ubique Cabaret Theatre’s “Cats”. Now as we say goodbye to the man who made it all happen, L Walter Stearns, we shall be humming the tunes of “The King and I”."
Around The Town Chicago - Highly Recommended
"...Many theater goers, over the years, get used to seeing specific productions done in a specific way- that which they have viewed and enjoyed many times. This production is not as you are used to, but it glimmers and shines making an enjoyable 2 1/2 hours of wonderful musical theater in a very intimate space that brings you much closer to the action. The story that shows the two worlds, that of England and that of Siam, come to an understanding that change is for the betterment of both is also a love story of not just this man and woman, but of family."
Chicago Theater Beat - Recommended
"...For purists like me there’s one cavil: This revival’s two-piano accompaniment, however beautifully played by Eugene Dizon and Allison Hendrix, is nonetheless a letdown, robbing the songs of the rich orchestrations Rodgers intended. Less crucial, the delightful scene in which the ladies of the court try to maneuver inside European crinoline ballgowns and corsets is necessarily omitted. But new to me is the royal school’s anthem sung by Anna and her princely pupils, as well as a charming reprise of “A Puzzlement” sung by the sons of the principals that extends the cultural clash to the next generation. You win some, you lose some."
