Theater Reviews : All the Trappings of a ‘King’ : Flowing, Colorful Costumes and Exotic Sets Take Center Stage in Yorba Linda

Billy Aniceto, who plays the Siamese ruler in the Yorba Linda Civic Light Opera’s “The King and I,” is pretty good at the old huff-and-puff. His monarch is an oversized kid stuck in a tantrum--he bellows and bellows, but we don’t mind because he’s so unaware of his own arrogance.

Along with the Art-Deco-meets-Oriental-spice set and the colorful-as-a-bazaar costumes (both of which go uncredited), Aniceto is the most interesting feature of this show. He’s not a riveting vocalist, but he does try to charm us with the king’s harmless conceit. More important, Aniceto works to keep everything moving along.

But in the end, even Aniceto’s performance isn’t rousing enough. The Larry Watts-directed production is dawdling and marked more by lost opportunities than anything else. This “The King and I” is a slow boat to Siam.

The introduction of the king’s huge brood in the first act is telling. The scene can be a whimsical treat of fatherly pride and youthful posturing as each child is paraded before Anna, the Brit brought over to teach them English. But at Yorba Linda, there’s not much fun in the long procession. The kids look cute, but they don’t register beyond that.

Part of the problem is the lack of a connection, romantic or otherwise, between the king and Anna. When one of the king’s wives notes fairly early on that they need each other, we wonder where that came from; they seem more like employer and employee than reticent sweethearts.

That’s not a debilitating flaw; even Yul Brynner, who all but created the role, didn’t pay much attention to Anna, whether on Broadway or in the 1956 movie. But a more vivid bonding would help raise the tempo in Yorba Linda.

*

As Anna, Margaret Tolberg is sweet and properly anglicized, but her voice could be larger, more resourceful. She’s entrusted with many of the signature tunes in Rodgers and Hammerstein’s score (“Hello Young Lovers,” “Getting to Know You”) but only gives a serviceable accounting.

Actually, there’s little exceptional singing throughout the cast, although Vince Aniceto as Lun Tha offers a tender rendition of “We Kiss in the Shadows” in his duet with Adriana Sanchez as Tuptim. It’s Sanchez’s strongest moment, too, much better than her introduction with “My Lord and Master.”

The visuals, however, are noteworthy, especially by community-theater standards. Most of the action takes place in the king’s throne room, an environment rich in gold-hued, geometric details. The flowing costumes are a satisfying complement to this exotic setting.

* “The King and I,” Yorba Linda Forum Theatre, 4175 Fairmont Blvd., Yorba Linda. Thursday through Saturday at 8 p.m. and Sunday at 2 p.m.. Ends May 22. $9.50 to $14. (714) 779-1932. Running time: 2 hours, 30 minutes. Tom Rupcic: Captain Orton

Benn S. Hadland: Louis Leonowens

Margaret Tolberg: Anna Leonowens

Wilfredo Rosario: The Interpreter

Marty Silva: The Kralahome

Billy Aniceto: The King

Sergio Lobito: slave

Adriana Sanchez: Tuptim

Dyan McKinney: Lady Thiang

Andrew Rinella: Prince Chulalongkorn

Nicole Gerardi: Princess Ying Yaowalak

Vince Aniceto: Lun Tha

Marty Maurer: Sir Edward Ramsey

A Yorba Linda Civic Light Opera production of Rodgers and Hammerstein’s musical. Directed and choreographed by Larry Watts. Orchestra director Brackett H. Clark. Lighting by Brad Steward. Sound by Brian Newell. Musical direction by Todd Helm. Stage manager Michael Ewing.