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Of course, the adult performers are total pros, agilely portraying a cultural and time period much different from our own, but with remarkable similarities. Their “The March of the Siamese Children” was a highlight for me.

I’ve always been impressed with Lyric’s ability to find talented performers among local kids, and that’s borne out with the 13 kids cast as King Mongkut’s royal children (shout out to April 2015 cover kid Avonlea Hong!). The sets perfectly evoke 1860s Siam (modern-day Thailand), while the huge cast brings the king’s court to vibrant life, from the littlest performer (Leila Koss steals the show, and hearts, as Princess Ying Yaowalak) to the leads. What impressed me most about Lyric’s staging of “The King and I” – beyond the stunning costumes, the glorious music and a heroine after my own heart – is the scope of the production. (Don’t worry, Yul Brynner, I’ll get around to the movie version eventually!) Wacker Drive, Chicagoīut now that I’ve seen the Lyric Opera’s version of Rodgers and Hammerstein’s classic, I’m not sure I ever need to see another version.

After all, it’s from the same team that brought my all-time favorite to life (“The Sound of Music”), so it’s kind of a no-brainer that I would love this one, too. It’s a bit surprising to me that, as a self-proclaimed theater nerd, I haven’t ever seen “The King and I” before.