Although the plot doesn’t shed any of its corn and sentimentality, the production conquers all, with two appealing star performances. Kelli O’Hara excels as Anna, who comes to the Siam palace to teach the many children of the King, portrayed by Japanese actor Ken Watanabe, and his army of wives. O’Hara is in glorious voice, as always, and Watanabe has become better with his English than it is reputed to have been during previews, and he sings and dances sufficiently well when put to the test. Yes, he doesn’t compare to Yul Brynner, who still owns the role in one’s memory even after he is no longer with us. But who can compare? Watanabe has made the part his own and emerges as likably worthy of co-starring with O’Hara.

The opening is impressive as a huge boat moves forward on the stage extension practically docking in the audience. Anna, a widow, has arrived with her young son Louuis (Jake Lucas). She will discover that the king is an arrogant ruler who enjoys dictating to his subjects and keeping up such traditions as having to sit or stand higher than anyone in his presence. Given Anna’s proud sense of independence, the clash is inevitable until the thaw. There isn’t much chemistry between Anna and the king until a moment when the barrier is broken and Anna and Watanabe sweep around the stage energetically to the song “Shall We Dance?”

A crisis brews in a sub-plot when Tuptim, gorgeous-voiced Ashley Park, trying to run off with her secret lover Lun Tha, well-sung and acted by Conrad Ricamora, is captured and the king orders her punished. Anna accuses the king of being the Barbarian that he has been trying to prove he isn’t.

It is a pleasure to see a cast that includes so many of Asian ethnicity, thus adding authenticity to the look and spirit of the production. There is also a large contingent of very cute children (“The March of the Siamese Children”), used with maximum directorial button-pushing. Michael Yeargan has designed an opulent, spacious setting, even with a huge Buddha wheeled out in the background. Catherine Zuber’s costume design adds to the stunning spectacle, and O’Hara looks fabulous in her elegant wardrobe. Praise is also due Donald Holder for the lighting that dramatically denotes the changing moods. And the orchestra certainly does justice to the score.

Consider some of the songs: “I Whistle a Happy Tune,” “Hello, Young Lovers,” “A Puzzlement,” “Getting to Know You,” “Something Wonderful” and “I Have Dreamed.” The most elaborate number is the ballet, “The Small House of Uncle Thomas,” a Siamese rendering of “Uncle Tom’s Cabin,” creatively choreographed and danced--the show’s choreographer is Christopher Gattelli—and the considerable time for the segment is well spent.