Mark Kitaoka Susan Himes-Powers as Anna in Broadway By the Bay’s production of The King and I.’

A one-word description of the lavish Broadway by the Bay mounting of the famed musical “The King and I,” would be “stunning!” But, to be fairer to this production, I would need to call it: “utterly stunning!” A feast for the eyes and the ears.

This musical, constructed by two Broadway “greats,” Richard Rodgers and Oscar Hammerstein II, has become a staple in the stage repertoire, joining the best of the classical operettas. How could it not be when it is packed with such memorable ballads as “I Whistle a Happy Tune,” “Hello Young Lovers,” “Getting to Know You,” “We Kiss in a Shadow” and “Shall We Dance?”

The strikingly colorful, beautiful sets and costumes frame a marvel of acting and singing that reaches an operatic level at times and features the most impossibly adorable collection of little children you will ever, likely, see on any stage.

As I have previously written, with this level of musical productions by Broadway by the Bay, who needs Broadway in New York City? And, this production may be the best ever for this 44 year-old Peninsula institution.

I cannot imagine the two lead roles of Anna, by Susan Himes Powers, and The King, by Jared Lee, being done better anywhere, a wonderful match of talent. One cannot improve upon perfection. If Yul Brynner hadn’t put the stamp of the characterization in the original 1951 Broadway production, then Lee’s performance would do it. His vocal inflections and the timing of a challenging “pidgin English” dialect is a wonder.

Powers is super as Anna and I would rate her right up there with Deborah Kerr in the movie version, any time. Not only is she a remarkable actress but also has a powerful and lovely stage singing voice to back it up.

But the major talent doesn’t end there. Meryll Locquiao, in the role of a Tuptim, a gift wife to the king from the country of Burma, has a soaring voice of unquestionable operatic quality that thrills the audience in the power of her upper register. And Jacqueline De Muro’s dramatic soprano is very moving as the king’s head wife, Lady Thiang, who, in the song “Something Wonderful,” defends the king to Anna, attempting to have her accept him as he is, with all of the faulting she brings with her from her European heritage.

Of course, the plot must be familiar to all theatergoers by now. In a true story, in 1862, a widowed British schoolteacher, Anna Leonowens, brings her son Louis (a strongly talented Hunter Lowden) with her from Singapore to Bangkok on a ship commanded by Captain Orton (John Duggan). She had been hired to tutor English and European culture to the many children and wives of the Siamese King Mongkut (a land later renamed Thailand).

The King is an autocratic despot in the old Asian tradition and reneges on his promise to build her a small house outside of the palace compound. But, Anna hangs on, anyway, after she falls in love with the many children of his many wives and accepts taking up residence in the royal palace.

What she finds in the king is an extraordinarily complex man torn between the tradition of the absolute monarch and his desire to modernize and bring his nation into line with the powerful societies of the West and their scientific and technological advances.

Despite his demands that she show obedience and subservience to his will as a sovereign, as any other resident in his kingdom, Anna begins to find his soft spots and soon creates the devices to penetrate his ego and have an effect upon his development as a more compassionate king. In fact, she becomes vital to his survival when there is a rumor that Queen Victoria of England is being persuaded that he is a “barbarian” and may extend a “protectorate” upon his kingdom.

Young James Zongus is very impressive as Crown Prince Chululongkorn, who is terrified at what burden will be dropped upon him with his father’s death, but who may become the first modern king to bring the nation into the worldwide family of nations.

There is a subplot of Tuptin’s unhappiness in the palace and her hidden love for Lun Tha (Romar De Claro) the young Burmese man who had brought her as a gift for the king.

The dancing, choreographed by Jayne Zabar, is of balletic quality, especially in a sequence called “The Small House of Uncle Thomas,” a Siamese takeoff on Harriet Beecher Stowe’s American novel, “Uncle Tom’s Cabin.” This is, principally, performed by Yoshi Humfeld, Joshua Lau, Denise Lum, Diana Legaspi and Erin McKevitt. The rest of the cast is so huge with royal wives, royal dancers, men’s ensemble, royal children, dance ensemble and vocal ensemble, that it is impossible to give each the credit he or she deserves.

Other speaking parts are by Edmond Kwong (The Kralahome, the king’s Prime Minister), Joshua Lau (Phra Alack), Freddie Cadiente (the Interpreter) and William Giammona (Sir Edward, Queen Victoria’s diplomat).

The direction and stage traffic by Dennis Lickteig is flawlessly paced and the musical accompaniment under the direction of Mark Hansen is strong, yet never intrusive upon the dynamics on the stage.

Artistic Director Brooke Knight and Executive Director Jim Gardia continue to bring the “Best of Broadway” to the Peninsula and, sometimes, make them even better.

IF YOU GO:

‘The King and I’

music by: Richard Rodgers

book and lyrics by: Oscar Hammerstein II, from the book, “Anna and the King of Siam,” by Margaret Landon, based the memoirs of Ann Leonowens

Original Choreography by: Jerome Robbins

PERFORMED BY: Broadway by the Bay

Directed by: Dennis Lickteig

WHERE: The San Mateo Performing Arts Center, 600 Delaware St., San Mateo

WHEN: 8 p.m. Thursdays to Fridays; 2 p.m. and 8 p.m. Saturdays; 2 p.m. on Sundays. No show July 30. Closes Aug. 2

TICKETS: $20 to $48

CONTACT: 579-5565 or www.broadwaybythebay.org