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Music by Richard Rodgers
Book by Oscar Hammerstein II
Lyrics by Oscar Hammerstein II
Based on Anna and the King by Margaret Landon
Original Choreography by Jerome Robbins
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Show History
Getting to Know THE KING AND I
By Theodore S. Chapin
There is some disagreement as to exactly how THE KING AND I came to be written. In his autobiography
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Background: THE KING AND I
Rodgers & Hammerstein's first musical play based on a true story was also the first project brought to them by a star who wanted to play the leading
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Recommended Bibliography
THE KING AND I
Block, Geoffrey. The Richard Rodgers Reader. New York: Oxford University Press, 2002.
Ewen, David.
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Awards
1952 Tony Awards- 5 Awards for the Original Broadway Production of THE KING AND I:
- Best Musical, Richard Rodgers and Oscar Hammerstein II
- Best Actor, Supporting or Featured (Musical), Yul Brynner
- Best Actress (Musical), Gertrude Lawrence
- Best Costumes, Irene Sharaff
- Best Scenic Designer, Jo Mielziner
- 4 Awards for 1996 Broadway Revival of THE KING AND I:
- Best Revival (Musical), Dodger Productions, The John F. Kennedy Center for the Performing Arts, James M. Nederlander, Perseus Productions, John Frost, The Adelaide Festival Centre, The Rodgers and Hammerstein Organization
- Best Actress (Musical), Donna Murphy
- Best Costume Designer, Roger Kirk
- Best Scenic Designer, Brian Thomson
1956 Academy Awards- 5 Awards for the Motion Picture of THE KING AND I:
- Best Actor, Yul Brynner
- Art Direction (Color), Lyle R. Wheeler, John DeCuir; Set Decoration: Walter M. Scott, Paul S. Fox
- Costume Design, Irene Sharaff
- Music (Scoring of a Musical Picture), Alfred Newman, Ken Darby
- Sound Recording, 20th Century-Fox Studio Sound Department, Carl Faulkner, Sound Director
1996 Drama Desk Awards- 4 Awards including Best Musical Revival
1996 Outer Critics Circle Awards- 3 Awards including Best Musical Revival
Articles & Interviews
10/1/1997 Volume 5, Issue 1, Fall BRIGHT AND BREEZY: HALEY MILLS TAKES THE KING AND I ACROSS AMERICA""Ravishing, dazzling, sumptuous. Such terms are not excessive when applied to the touring production of THE KING AND I.""
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7/1/1996 Volume 3, Issue 3, Summer FROM DOWN UNDER TO THE GREAT WHITE WAYBroadway's newest production of THE KING AND I began in Australia more than five years ago
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7/1/1996 Volume 3, Issue 3, Summer KING AND I FOR THE 21ST CENTURYSince its premiere 45 years ago, a decade has not gone by without a royal visit to New York by THE KING AND I.
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10/1/2006 Volume 13, Issue 2, Fall KING OF DIAMONDSIn June, audiences in Fort Worth, Texas, witnessed the return of Lou Diamond Phillips to THE KING AND I.
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7/1/2000 Volume 7, Issue 3, Summer LONDON HAILS A NEW KINGHeralded by an advance ticket sale of 7 million pounds (the largest reported in London history), the acclaimed Australian-New York production of THE KING AND I opened on May 3.
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1/1/2001 Volume 8, Issue 2, Winter SOMETHING WONDERFUL: CELEBRATING 50 YEARS OF THE KING AND IOn March 29, 1951, Rodgers & Hammerstein's The King and I opened at the St. James Theatre on Broadway.
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7/1/1997 Volume 4, Issue 3, Summer THE KING WELCOMES A PRINCE TO BROADWAYFrom now on, I think it only fair to regard Faith Prince as a queen - certainly a queen of Broadway,""
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1/1/1999 Volume 6, Issue 2, Winter WHISTLE A HAPPY 'TOON: THE KING AND I BECOMES AN ANIMATED FEATURE FILMThe roster of cartoons turned into Broadway musicals is a long and successful one. But what about the transformation of a Broadway musical into a cartoon?
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3/26/2008 Spotlight Promotion: A Deal Fit for a King!Something wonderful is coming your way from R&H Theatricals: Present THE KING AND I anytime between now and October 1, 2008, and opening night royalties are on us!
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3/26/2008 Spotlight Promotion: A Deal Fit for a King!Something wonderful is coming your way from R&H Theatricals: Present THE KING AND I anytime between now and October 1, 2008, and opening night royalties are on us!
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1/26/2009 Cabrillo Music Theatre Continues to ThriveThough many theatres today are facing dire financial challenges, many more continue to meet their challenges and "whistle a happy tune." We are pleased to share with you an interview with Carole Nussbaum of Cabrillo Music Theatre in Thousand Oaks, California—a theatre she has brought back from the brink.
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Critic Quotes
"THE KING AND I is the essence of musical theater, an occasion when drama, music, dance and decor combine to take the audience on an unforgettable journey."
Houston Chronicle, 1998
"THE KING AND I is perfect."
Liz Smith, 1996
"Let us pay tribute to Rodgers and Hammerstein, whose memorable book and score have become even lovelier and more lucent with the passage of 45 years."
New York Magazine, 1996
"The star of this production remains the show itself. It grows more impressive with each viewing."
New York Daily News, 1997
"Has heart, drama, comedy... sets a new high standard for the musical stage."
New York Daily Mirror, 1951
Facts & Figures
- July 4, 1898—Gertrude Lawerence is born in London. Creates the role of Anna in THE KING AND I (1951), earning the Tony Award for her performance.
- 4/3/1851—Mongkut is crowned King of Siam. In 1862, he hires English army widow Anna Leonowens to serve as governess to his 82 children. Her memoirs, novelized by Margret Landon as Anna and the King of Siam, serve as the basis for THE KING AND I.
- October 11, 1918 Jerome Robbins is born in New York City. Chereographs THE KING AND I on stage (1951) and screen (1956).
- February 26, 1951 The world premiere of THE KING AND I is presented at the Shubert Theatre, New Haven.
- March 29, 1951 THE KING AND I opens at the St. James Theatre, New York.
- March 30, 1952 At the sixth annual Tony Awards THE KING AND I receives five, including Best Musical of the Year.
- March 20, 1954 THE KING AND I closes on Broadway after 1,246 performances.
- March 22, 1954 The national tour of THE KING AND I starring Patricia Morison begins at the Community Theatre, Hershey, Pennsylvania, and tours for 42 weeks, visiting 30 cities before closing at the Shubert Theatre, Philadelphia, on December 17, 1955.
- June 28, 1956 Twentieth Century Fox releases the movie version of THE KING AND I, starring Deborah Kerr, Yul Brynner, and Rita Moreno
- March 27, 1957 At the 29th annual Academy Awards THE KING AND I receives five Oscars, including Best Actor (Yul Brynner).
- July 26, 1976 A revival of THE KING AND I starring Yul Brynner opens at the Starlight Theatre in Indianapolis and closes at the Westbury Music Fair in New York on October 2, 1976. Its success leads to a triumphant Broadway revival the following spring.
- May 2, 1977 Broadway's first revival of THE KING AND I, starring Yul Brynner and Constance Towers, opens at the Uris Theatre, New York, and runs for 695 performances.
- April 11, 1978 For three weeks during the smash Broadway revival of THE KING AND I the emphasis is taken off the King and put back on Anna when, at vacation time, Angela Lansbury steps in for Constance Towers and Yol Brynner's understudy, Micheal Kermoyan, takes over for him.
- June 12, 1979 Yul Brynner and Virginia McKenna star in a revival of THE KING AND I at London's Palladium Theatre, running until September 27, 1980.
- August 19, 1980 Yul Brynner gives his 3,000th performance as the King during a revival of THE KING AND I at the Palladium Theatre, London.
- September 13, 1983 Dorothy Rodgers and Dorothy Hammerstein host a party in Los Angeles for Yul Brynner on the occasion of his 4,000th performance as the King in THE KING AND I.
- January 7, 1985 Yul Brynner begins his farewell engagement as the King of Siam in THE KING AND I at the Broadway Theatre. The production sets a new Broadway record for advance ticket sales purchased in a single week, grossing $1,541,547.
- June 30, 1985 At the Broadway Theatre, New York, Yul Brynner gives his 4,625th and final performance as the King in THE KING AND I. At his curtain call Brynner is serenaded by the cast and audience with "Auld Lang Syne" and a letter is read from President Ronald Regan. It is estimated that in 34 years of performing the King on the American stage, Brynner has been seen by three-and-a-half million people on Broadway and four-and-a-half million more on the road.
- July 3, 1985 Variety reports that the final week of Yul Brynner's farewell engagement in THE KING AND I at the Broadway Theatre, New York, sets an all-time Broadway box office record of $605,546- the highest single-week (eight performance) tally in Broadway history.
- February 26, 1989 JEROME ROBBINS' BROADWAY, an anthology of the director/choreographer's musicals, opens at the Imperial Theatre, New York, and features "The Small House of Uncle Thomas" ballet from THE KING AND I. Susan Kikuchi, daughter of original cast member Yuriko, dances her mother's role of Eliza.
- August 18, 1989 Rudolf Nueryev stars in a six-month national touring revival of THE KING AND I at the Palladium Theatre London.
- September 20, 1991 The movie of THE KING AND I is shown outdoors at the Hollywood Bowl on the world's largest movie screen as part of American Cinematheque's annual "Movies at the Bowl" event. Mary Rodgers and James Hammerstein, a daughter and son of the authors, introduce the film to a crowd of 18,000.
Musical Numbers
Hello, Young Lovers (Anna)
resources/Audios/41133_0629_06.mp3
Hello, Young Lovers (Anna)
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 1. Overture (Anna)
2. Opening Act I (Arrival At Bangkok) (Anna)
3. I Whistle A Happy Tune (Anna, Louis)
 4. Incidental For Dialogue (Entrance Of Kralahome) (Anna, Louis)
5. Exit: I Whistle A Happy Tune (Anna, Louis)
6. Vignettes And Dance (Anna, Louis)
7. My Lord And Master (Tuptim)
8. Incidental For Dialogue (Tuptim)
9. Hello, Young Lovers (Anna)
10. Hello, Young Lovers (Enccore) (Anna)
11. The March Of Siamese Children (Anna)
12. Postlude To The March Of Siamese Children (Anna)
13. Scene Before Curtain (Anna)
14. A Puzzlement (King)
15. School - Room Scene (Children and Wives)
16. Getting To Know You (Anna, Wives & Children)
17. Incidental (King)
18. We Kiss In A Shadow (Tuptim and Lun Tha)
19. A Puzzlement (Reprise) (Tuptim and Lun Tha)
20. Shall I Tell You What I Think Of You? (Anna)
21. Something Wonderful (Lady Thiang)
22. Change Of Scene (Pantomime) (Lady Thiang)
23. Something Wonderful (Reprise) (Lady Thiang)
24. Change Of Scene (Postlude To Something Wonderful) (Lady Thiang)
25. Scene (Anna And The King Planning Party) (Lady Thiang)
26. Fireworks (Lady Thiang)
27. Finale Act I (Company)
28. Entr'acte (Company)
29. Opening Act II (Company)
30. Western People Funny (Lady Thiang and Wives)
31. Exit Of Wives (Lady Thiang and Wives)
32. Dance Of Anna And Sir Edward (Lady Thiang and Wives)
33. Exit Of Anna, King And Sir Edward (Lady Thiang and Wives)
(Lady Thiang and Wives)');"> 34. Incidental "We Kiss In A Shadow" (Lady Thiang and Wives)
35. I Have Dreamed (Lun Tha, Tuptim)
36. Hello, Young Lovers (Reprise) (Anna)
37. The Small House Of Uncle Thomas (Ballet) (Tuptim and Royal Dancers)
38. Postlude Of Ballet (Tuptim and Royal Dancers)
39. Incidental (Change Of Scene) (Tuptim and Royal Dancers)
40. Song Of The King (King)
41. Shall We Dance? (Anna, King)
42. My Lord And Master (Melos) (Anna, King)
43. Processional (Anna, King)
44. Something Wonderful (Reprise): Letter Reading (Anna, King)
45. Polka Doloroso (Anna, King)
46. I Whistle A Happy Tune (Reprise) (Anna)
47. Finale Ultimo (Anna)
48. Music Exit (Anna)
Discography
| 1. |
The King and I [1994 Studio Cast Recording]
Label: Jay
Release date: January 1, 1997
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Y
Rental Materials
| Rehearsal Set (22 Books, 1 Logo CD) |
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20 Libretto-Vocal Books
| 1 Logo CD
| 2 PIANO VOCAL SCORE
| | | | Orchestration Package (23 Books) |
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1 PIANO CONDUCTOR SCORE
| 1 FLUTE I
| 1 FLUTE II (Doubles Piccolo)
| 1 OBOE (Optional Doubling English Horn)
| 1 CLARINET I-II
| 1 CLARINET III (Doubling Bass Clarinet)
| 1 Bassoon
| 1 HORN I-II
| 1 HORN III
| 1 TRUMPET I-II
| 1 TRUMPET III
| 1 TROMBONE I
| 1 TROMBONE II
| 1 TUBA
| 2 PERCUSSION
| 1 VIOLIN A (Divisi)
| 1 VIOLIN B (Divisi)
| 1 VIOLIN C
| 1 VIOLA (Divisi)
| 1 CELLO
| 1 BASS
| 1 HARP
| | | | Two Piano Arrangement (2 Act I, 2 Act II) |
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2 TWO PIANO ARRANGMENT - Act I
| 2 TWO PIANO ARRANGMENT - Act II
| | | | Libretto/Vocal Books 10 pack |
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10 Libretto-Vocal Books
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Writer's Notes
1951, Rodgers and Hammerstein, "About The King and I," The New York Times'Anna and the King of Siam,' being itself a biography based on an actual diary, demanded much more fidelity than would a satire, a fairy tale, or a revue. Dealing with a governess who went to the court of Siam in 1861 to teach English to the royal children, the quality of the original book was its authentic feeling, its simple statement of facts and occurrences, which were fantastic enough to need no embellishment. Our basic problem was how far we could capture this remote reality and still give our production the lift and glow that all musical plays must have. Obviously THE KING AND I is not an example of stark realism in the theatre, or a documentary work on the Orient in the middle of the nineteenth century. We have not been slavishly literal in following the book, nor completely conscientious historically. But in spite of whatever factual compromises we have seen fit to make, we have tried very hard, within our own romantic medium, to present the King and Anna as the genuine and fascinating man and woman we believe they were. The strength of their story lies in the violent changes they wrought in each other. Yet their life together bears unmistakable implications of deep mutual attraction$mdash;a man and woman relationship so strong and real and well founded that it seems in some ways more than a love affair, more than a marriage. The intangibility of their strange union was a challenge to us as librettist and composer. In dealing with them musically we could not write songs which said 'I love you' or even 'I love him' or ' I love her.' We were dealing with two characters who could indulge themselves only in oblique expressions of their feelings for each other, since they themselves did not realize exactly what those feelings were.
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