`THE KING AND I' -- The Gilbert & Sullivan Society -- City Hall -- Through October 23.

It was cheers and a richly deserved standing ovation for the cast of `The King and I' when the sold-out musical opened at City Hall last night.

The Gilbert & Sullivan Society's production of this legendary musical surpasses even the high standards that we have come to expect from this group.

Rodgers & Hammerstein's classic has all the ingredients -- and more -- that constitute a hit show: memorable tunes emerging from a score that is symphonic in concept, a script as outstanding for its wit as its raw emotion, lavish sets and costumes, and one of the most theatrically effective ballet sequences ever devised for a Broadway musical. This production emerges as a triumph for everyone involved.

`The King and I' is, however, far more than just another musical; it explores the complex themes of racial understanding, women's rights and the abolition of slavery. The fact that these vexing issues are presented through the eyes of a 19th century English widow makes them no less topical today.

The plot is based upon the true story of Mrs. Anna Leonowens, hired to teach the numerous children of the King of Siam. The ensuing clash of cultures, to say nothing of personality clashes between two equally strong-minded characters, provides fertile ground for the ensuing humour. The heartbreak comes with the realisation that, however ambiguous and understated, this is also a love story between the unlikeliest of couples.

To Annette Hallett goes one of the many bouquets of the evening. Her direction is a miracle of understanding -- of overall visual impact, musical eminence, and of her performers. If she is lucky (and she is) to have this arsenal of talent at her disposal, they are fortunate in having a director who is able to bring it all together in this highly moving spectacle.

She instinctively understands the building of momentum and while there are numerous moments that are, in every sense, show-stopping highlights, the climactic finale produces a reaction that is rare, even on the professional stage: hardly a dry eye in the house.

The innate musicianship of Marjorie Pettit is everywhere apparent in this beautiful score which, at times, is almost operatic in scope. She has assembled a fine orchestra, which comes gloriously into its own in the ballet sequence, with its contorted Eastern-influenced rhythms.

With his set designs, Joel Froomkin -- young as he is -- confirms that he is the possessor of extraordinary talent. Since he is away at school, much credit goes to his mother, Donna Froomkin, who has helped produce them onstage. From the moment the raised, `sun-burst' throne slowly revolves to reveal the imposing image of the King, we are transported to an old Bangkok that appears utterly authentic and breathtakingly beautiful with its predominant theme of pale blues and shimmering gold.

The arduous rehearsals which began months ago came to an agonised halt when Karen Musson, the original Anna, sadly, ruptured a ligament and had to withdraw from the show. Heroically, Beverley Crick danced, sang and acted her way into the breech so engagingly that no-one could ever have guessed that she has had only two weeks to achieve such consummate professionalism. Her attractive mezzo soprano voice copes superbly the musical numbers, but it is her acting which takes this production to the heights.

Ultimately, however, it is probably true to say that this show belongs to Richard Fell. It would have been so easy to have modelled his portrayal on the unforgettable image of Yul Brynner; to his credit, he avoided this temptation and has made this actor's dream of a role uniquely and entirely his own. Here is a performance that would do credit to any professional stage, so perfectly has he realised every nuance of this endearing character.

One of the most beguiling moments of the play occurs during the March of those enchanting Siamese Children, when a glimpse of parental tenderness adds a quietly comic and unexpectedly human element to this autocrat of the East.

Musically, the burden of `The King and I' falls on the soprano role of the young slave girl, Tuptim. The extraordinary voice of 17-year old Khalilah Smith soars with effortless ease. In the duets, she is joined by the pleasing tenor voice of Bob Di Giacomo. `We Kiss in the Shadows' and `I Have Dreamed' are two of the most memorable duets in American musical history and they give memorable performances.

Her acting ability was perhaps more of a surprise, with her wonderfully articulated narration of the ballet, `The Small House of Uncle Thomas'.

This 20-minute divertissement represents another triumph for Barbara Frith, who has brilliantly adapted the original Jerome Robbins choreography, preserving the symbolism of the Siamese court dances.

Louise Cabral, who dances the role of the little slave-girl, Eliza, does so with quiet and fluid grace: one of the loveliest moments is when the Buddhist angel teaches her how to skate on the frozen river as she flees from the wicked king.

Sandra Ray brings gentle dignity to her well-sung role of Lady Thiang and Stephen Dudden is a suitably enigmatic prime minister. Brian Webb brings an aura of English elegance (and tact) to the role of Sir Edward Ramsay. Edward Blakely, as Anna's son, and James Birch as the young prince both display impressive diction and stage presence, while Liz Campbell pulls out all the visual stops with her sumptuous and beautifully sewn costumes. All in all, a magnificent team effort from everyone on and backstage.

As usual, credits too, to producer Marjorie Stanton. This will surely be a hard act to follow, for `The King and I' is now the shining example of all that is best in Bermuda's remarkable theatrical history.

PATRICIA CALNAN.

SHALL WE DANCE? -- One of the highlights from The King and I, which opened at City Hall last night. Beverley Crick, as the English governess, introduced the King of Siam (Richard Fell) to the delights of western-style dancing. Photo: Graham Lobb.