THE King And I opened on March 29 1951 at the St James Theatre in New York. With coincidental but pleasing symmetry, the show's opening night at the Grand Opera House fell on March 29 2005, the 54th anniversary of that first night.

Written at the request of leading actress Gertrude Lawrence and forever associated with Yul Brynner, the bald Russian who arrived at the auditions "looking rather ferocious", Rodgers and Hammerstein's fifth musical collaboration is still, in the words of one song, Something Wonderful.

Stephen Rayne's new touring production is a gorgeous revival, with sumptuous costume designs by Roger Kirk and impressive golden set designs - save for a wobbly top to the King's throne - recreated by Emma Ryott from Brian Thomson's original scenic plans. Best of all, the role of King Mongput of Siam goes to Kevin Gray, who became only the third actor to play the King on Broadway and now revisits The King And I to complete some unfinished business.

In his late-Nineties run in New York, he "just didn't feel I got it right". While he jokingly talks of "just getting warmed up", older and wiser he has risen to the regal challenge in Margaret Landon's story of the king's sometimes brutal regime in 1860 being changed by the educative influence of a widowed English governess.

You will recall that when employed by the King to teach his 67 children - 77 by the play's end - Anna Leonowens is herself educated by her experience, amid a clash of principles that grows to love in musical tradition.

Just as Gray has brought his own stamp to the king to complement the familiar shaven head and hands-on-hips hauteur of Brynner ilk, duly playing him as stern, vain yet always inquisitive and sometimes playful, so National Theatre actress Elizabeth Renihan is to the Victorian English manner born.

Tall and upright, principled and yet kindly and a delight with children, her Anna has more than the king wanting to dance with her.

Rayne's production brings zest to the score, rich choreographic drama to the Small House Of Uncle Tom narrative ballet and poignancy to the finale. The children are a joy, too.

Updated: 10:52 Wednesday, March 30, 2005