Jose Llana, a majestic ‘King’

JOSE Llana shows his “The King and I” costumes in his dressing room. RUBEN V. NEPALES

LOS ANGELES—Jose Llana commands the stage as the imperious Siamese sovereign in “The King and I” on Broadway. Taking over from Japanese actor Ken Watanabe, Jose puts his own stamp on the role, filling the vast, resplendent stage of the Lincoln Center’s Vivian Beaumont Theater with his voice and presence. It’s quite an accomplishment for the Filipino-American actor in his first truly major Broadway role, especially amid Ken’s Tony Award-nominated performance and the looming shadow of the late Yul Brynner’s iconic portrayal in the 1956 movie version.

Jose’s achievement is even more impressive considering the excellent cast he performs with, including Broadway darling Kelli O’Hara, who has amassed six Tony nominations and finally, deservedly won one this year for her British schoolmistress Anna Leonowens; Ruthie Ann Miles, who bagged a Tony best featured actress in a musical prize as Lady Thiang, the King’s head wife; Conrad Ricamora (Lun Tha); Ashley Park (Tuptim); Jon Viktor Corpuz (Prince Chulalongkorn), and scores of charming, scene-stealing young actors as the King’s many children.

It’s a striking coincidence that the leads of “Here Lies Love,” David Byrne’s acclaimed musical on Imelda Marcos, are together again, but this time in Siam: Jose (who played Ferdinand Marcos), Ruthie Ann (Imelda) and Conrad (Ninoy Aquino). Jose cracked later that he “is thrilled” to be married to Ruthie again.

Regally dressed in silk and brocade, Jose evokes the right mix of humor and regal gravitas. This ruler is not “A Puzzlement,” to quote the title of one of the Rodgers and Hammerstein’s songs he performs. Jose and Kelli are just a joy to watch in the ever-delightful “Shall We Dance?” In addition to the King’s trademark line, “Etcetera, etcetera,” the Quezon City native also gets laughs whenever he asks, “Whaat, whaaat?”

It was great to be reminded that this 2015 Tony winner for best revival of a musical, brilliantly directed by Bartlett Sher, has many gems: “I Have Dreamed,” “We Kiss in a Shadow,” “Something Wonderful,” “My Lord and Master,” “Hello, Young Lovers,” “Getting to Know You” and “I Whistle a Happy Tune.”

After the show, which earned a standing ovation from the audience, Jose changed from his royal wardrobe of gold beaded jacket, sash and trousers into a tee, jeans and a hat and welcomed us in his dressing room. As Jose led us to the stage, we bumped into Conrad, and Ali Ewoldt, one of the Fil-Ams in the ensemble but who has stepped in as Tuptim several times.

Standing on the gleaming thrust stage, I remembered the first time I watched Jose—dueting with Lea Salonga in “Flower Drum Song” in the LA revival in 2001. To say he’s come a long way from that show is an understatement.

It’s also significant that Jose essayed the Lun Tha role in the 1996 Broadway revival of “The King and I” that coincidentally starred another Fil-Am, Lou Diamond Phillips, as the monarch of Siam. Now, Jose is back on Broadway as the King, no less.

Do watch Jose in the show, which has recently attracted First Lady Michelle Obama and other figures, before he steps down from the role—his last day on the musical throne is Sept. 27. The following are excerpts from our interview with the actor whose other Broadway credits include “The 25th Annual Putnam County Spelling Bee” (as Chip Tolentino) and “Rent” (Angel).

JOSE Llana (right) and Kelli O’Hara perform their “Shall We Dance?” number. PAUL KOLNIK

The King is an iconic role. How did you put your own stamp on the role?

Like with any role, I start from the source material and go from there. It was important for our director and this production to accurately depict the political atmosphere of that time, which greatly influenced the King, how he acted and the choices he made. It was my job to bring my own humanity and honesty to the role, which is already such a beautifully written part.

Did you get to talk to Ken before he bowed out of the show?

I did. He was incredibly kind and generous. It was an honor to take over the role from him.

Do you remember the first time you saw the movie version?

It was when I was preparing for my audition for the 1996 Broadway production. Since then, I’ve only watched it one other time.

When did you first watch a stage production of the show?

I had never seen a stage production of the show before I was cast in the 1996 production.

What was it like on your first night in the role last July 14?

Electrifying and terrifying. When you take over a role, the learning curve is much steeper than opening it originally. You’re hopping onto a moving train, basically. A fast-moving, Tony-winning train. But my job was made so much easier with this amazing cast and crew.

How did Kelli welcome you into the show as the new King?

She has been unbelievably generous and supportive. We’ve been finding our own show together—new beats and moments between her Mrs. Anna and my King.

Talk about the pleasure you have every night of singing, acting and dancing with Kelli.

There’s a moment in Act 2 where Mrs. Anna starts singing “Shall We Dance?” and the King simply stands there and watches her in awe before he joins in. That moment doesn’t require much acting on my part!

The audience always cheers and applauds you and Kelli when you do the polka in “Shall We Dance?”

It’s one of the most iconic scenes in all of musical theater, steeped in depth and symbolism and utterly joyful.

What are the numbers or moments that you look forward to each night?

“Shall We Dance?” and then going into the whipping scene is one of the best examples of going from the highest high to the lowest low in terms of character and scene. They are perfectly written scenes and magical to perform.

How physically and mentally challenging is the role?

I’m finding that the biggest challenge is keeping my voice strong through all the yelling and bellowing. Also, maintaining the mental stamina for three hours is a challenge, too.

You skipped college class to audition for the 1996 revival despite not having a union card and you were not on the list of actors scheduled to audition that day.

“The King and I” started everything for me. It started my career and created the foundation for my work. When Rodgers and Hammerstein is the standard you begin with, few composers come close to that perfection. Returning to the show to play the King has been very sentimental. I’m grateful for it every second I’m in this company.

You have been offered to play the King in some regional productions. But you turned these offers down because somehow you had a gut feeling that you’d play the King on Broadway someday.

I always felt the King was somewhere in my future and I wanted my return to the show to be something special. I’m so thankful I waited.

It’s also serendipitous that you, Ruthie Ann and Conrad, who starred in “Here Lies Love,” are together again in this show.

Those two are my siblings. In fact, while we were in “Here Lies Love,” the whole company called me kuya (brother). I’m thrilled to be married to Ruthie again. She is unbelievable as Lady Thiang. And Conrad and I now have a role in common, a special thing for brothers to share.

Can you talk about the big number of Fil-Ams, including Jon Viktor and Ali, in the show?

The Pinoy factor in “The King and I” is strong! Ali has been on for Tuptim with me a few times now and she is stunning. I’m especially proud of Jon Viktor for his Prince portrayal. He’s a talented young man and has a bright future.

Do you somehow see a bit of yourself in Jon Viktor when you were starting out?

Of course! I was only a year older than Jon Viktor when I played Lun Tha in 1996. I know exactly what it’s like to make your Broadway debut at such a young age. I’m glad he’s got a company full of older brothers and sisters like I did in my “King and I.”

The kid actors are wonderful. Can you talk about the joy you must feel performing with these kids?

They are amazing. So poised and hilarious in person.

Was it your decision to not shave your hair?

No, it was not. It was the decision of our costume designer Catherine Zuber (who won a Tony for the show), wig designer Tom Watson and Bartlett. My hair in the show is more historically accurate. People only associate a shaved head with the King because of Yul Brynner.

What have been the highlights of being in the show so far?

Besides sharing the stage with Kelli and Ruthie, a personal highlight for me has been the enormous number of family and friends who have come to watch and support me in the show, especially those who saw me in it in 1996. The term “full circle moment” has been said more than a few times.

(E-mail the columnist at [email protected]. Follow him at https://twitter.com/nepalesruben.)