Rebecca Droke, Post-Gazette 'The King and I' features Nathan Sudie as the King and Mia Gojkovich as Anna. Click photo for larger image

By Christopher Rawson
Pittsburgh Post-Gazette

	SLIDESHOW: Pictures and sound from the Serra Catholic High School production of "The King and I," with commentary by Christopher Rawson. Click image for slideshow.

What musical is so well known and loved as the one by Rodgers and Hammerstein about the stern father with lots of children who hires a young teacher who struggles with their cultural differences before letting her love of the children win her to him?

Yes, that's "The Sound of Music." But R&H liked the basic plot so much they had already used it for "The King and I," set not in 1930s Austria, but in a very grand palace in 19th century Siam, where Maria, her Captain and his seven children are prefigured by Anna, the King of Siam and his almost infinite offspring.

Taking on "The King and I" last week, little Serra Catholic (little in terms of its musical theater resources) took on a big challenge and acquitted by capturing several of the musical's famous moments as well as the sterner stuff beneath the fluff.

Never underestimate R&H: Beneath the comic clash of uncomprehending cultures there is a play about slavery, imperialism (political and cultural) and the ingrained exploitation of women. Of course, if "King and I" were written today, it would have Anna learning important lessons from Siam, especially about British imperialism, which here seems simply benign.

Actually, much of "The King and I" is fiction and resented as such in Thailand (as Siam is now called). But it reminds Americans that we have no moral edge on Siam: The slavery over which we fought our Civil War occurred during the same time period. That R&H wanted us to reflect on our own history is clear in the use of a dance version of "Uncle Tom's Cabin" to comment on both Siam and America.

I wish the Serra program booklet had provided some historical background, since a high school musical can also be an occasion to learn.

Rebecca Droke, Post-Gazette Nathan Sudie (King) sings "A Puzzlement." Click photo for larger image.

But primarily it's an occasion for fun and entertainment. Serra's show reached one peak in the "March of the Siamese Children," during which we meet the children of 11 of the King's wives, played mainly by the students' younger siblings, ages 4 to 14. They were darling.

The cast requires many more girls than boys, which fit Serra's apparent strengths, but you can't do the show at all without a solid Anna and King. With Mia Gojkovich and Nathan Sudie, Serra was well-served. Mia showed a sunny, commanding presence and scored immediately with "Whistle a Happy Tune," which opens the show. Nathan, who has a slight physique for the King, filled the role with cheery assurance and a touch of irony.

My second favorite number was the engaging "Shall We Dance," in which Anna and the King express their elation over a successful diplomatic banquet and find a safe physical expression of their growing regard.

The demands of the score fell most heavily on Kathleen Creehan, Kaitlyn Findley and Gabe Newman, the Lady Thiang, Tuptim and Lun Tha I saw, and they met that challenge with varied results. Strong support came from Prince Chululongkorn, played by Benjamin Sudie with a likeness to his supposed father.

The limited use of body mikes and amplification gave the show a nice natural sound, but some couldn't be heard. It also required performers to face front, which limited their ability to act out a song. But that was consistent with the minimal movement of Blair Wojton's direction.

	Rebecca Droke, Post-Gazette The wives and children of the King of Siam listen to Anna (Mia Gojkovich) as she sings "Getting to Know You." Click photo for larger image.

Similarly, with Krista Kaley's choreography: Lacking many dancers with training, she wisely kept the movement simple.

The costumes were likewise limited: beautiful on the leads, minimal on the ensemble. Conductor John Fisher's orchestra produced a fine, attractive sound with a mixture of students, teachers, friends and parents.

In all, there were 44 students on stage, plus many more backstage and in the pit. Factor in the number of teachers and family members who provided support, and this high school musical, like others, was an admirable achievement. I understand much credit goes to Nathan Sudie, who in addition to being the King, was the producer -- an unusual responsibility for a student.