The latest in a long line of successful musicals, this was not only a great night out, but a sophisticated and professional staging of this popular musical, recently also revived at the Albert Hall.

Carole Ashcroft and Andrew Shaw should be proud of their own achievements as well as those of their cast, orchestra and backstage crews.

The orchestra's lovely, hummable accompaniments to the well-known songs were linked by the equally accomplished playing of music suggesting a quite different culture.

The striking and effective stage set, subtly and cleverly lit, was a perfect foil for the stunning colours and shimmering gold of the beautiful costumes, especially of the royal wives and children, whose presence on stage was completely enchanting.

Morgan Vickers was a haughty yet sympathetic Prince Chulalongkorn and Edward Whinney just perfect as the brave and lovable Louis.

As the doomed Burmese lovers, Charlotte Oliver and Domonic Ramsden sang beautifully and conveyed a real sense of innocence and vulnerability.

Eleanor Ordish was perfect as the sensible, pragmatic Lady Thiang, in her well-judged singing as well as her acting, Will Tyas suitably pompous as Sir Edward Ramsay and Toby Flowers a kindly Captain Orton.

Sam Hayward's royal steward was deferential and aggressive just as occasion demanded, ably supported by Wesley Potterton, Matthew Bruce and the royal guards.

The Thai ballet sequence, Uncle Tom's Cabin, was very cleverly done: the audience became the royal audience for this so completely that it was a surprise when the players turned towards the King, watching from upstage.

Isabel Parkes, as the fugitive Eliza, and David Amey, as an energetic, demonic version of Simon Legree, worked well together to show another clash of cultures.

The singers' chanted narrative and the grace of the dancers in this as well as in the rest of the play, were mesmerising.

And then there were Anna and the King. Jenny Amey captivated the audience with her presence, her singing, dancing (and whistling!) as soon as she stepped on stage.

She suggested a complexity of character completely matched by Sam Bell as King Mongkut, his clear vulnerability underlying his outward ferocity and confidence.

The chemistry between them was beautifully demonstrated in the Polka, and there was real, deeply felt sadness in the final scene.

Move over, Yul Brynner: eat your heart out Deborah Kerr. This was a brilliant show.