1. No category

Getting to know...
Rodgers and Hammerstein’s
The King and I
Photograph by Joan Marcus
Researched and prepared by Dennis Elliott
Richard Rodgers
Rodgers and Hammerstein’s The
King and I was the fifth in a line of
extraordinarily successful musicals
written by the famous theatrical duo,
the others being:
Oklahoma 1943, Carousel 1945,
State Fair 1945 and South Pacific
1949.
The musical is based on a novel by
the American author Margaret
Landon titled Anna and the King of
Siam. Landon's novel itself was
based on the memoirs of Anna
Leonowens, an educator, travel
writer and women’s rights activist
who served as a teacher to the wives
and children of King Rama IV of
Siam (known in the West as King
Mongkut) for a period of almost six
years from 1862 - 1868.
From book to stage
Oscar Hammerstein II
Fanny Holtzmann business manager
and attorney for the great British
actress Gertrude Lawrence had read
Margaret Landon’s novel and
realised that a musical based on
Anna and the King of Siam might
prove to be a very useful vehicle with
which to revive the “fading” career of
her very famous client. Lawrence
purchased the rights to adapt
Landon’s book as a musical and
Holtzmann immediately set about
finding a suitable composer for the
score. Cole Porter, her first choice,
declined the offer and Noël Coward
was
considered
but
never
approached. While in Manhattan one
day Holtzmann fortuitously happened
to meet Dorothy Hammerstein,
Oscar Hammerstein’s wife.
Holtzmann told her that she would
love
to
have
Rodgers
and
Hammerstein create the show. The
famous duo were already wellacquainted with the novel and
regarded it poorly as a vehicle for a
successful Broadway musical. Both
Rodgers and Hammerstein were
concerned that the proposed star of
the show, Gertrude Lawrence, would
prove too expensive to engage, was
temperamental and possessed a
voice that had clearly seen better
days. Despite these misgivings, they
had great respect for her acting
abilities and agreed to write the
show. But Landon’s book had
shortcomings. Changes would have
to be made....and were!
Gertrude Lawrence as Anna
The real
King Mongkut
The real
Anna Leonowens
A key element in all Rodgers and
Hammerstein musicals is romance:
boy meets girl. In Oklahoma Curly
meets Laurey, in Carousel Julie
meets Billy and in South Pacific
Nellie meets Emile. It is the love
relationship
between
these
characters that complicates the story
and drives the plot forward. Landon’s
book provided scant material for
romance.
The King and Anna, the two lead
characters, would normally be
expected to express their love for
each other at some stage in the
show but coming from different social
and cultural backgrounds, and taking
into consideration the social mores of
the time, theirs would have to be a
“love” that was unspoken.
To counteract this “shortcoming” Hammerstein created love scenes for a
secondary couple: Tuptim, one of the King’s junior wives, and Lun Tha, a
Burmese envoy. Secondary love interests are not uncommon in Rodgers and
Hammerstein musicals. In Oklahoma we find Ado-Annie and Will Parker; in
Carousel we meet Carrie and Mr.Snow. Both couples are comic foils to the
principal love story. But in Rodgers and Hammerstein's The King and I the
relationship between Tuptim and Lun Tha is the principal love story, and it is
anything but comic. Hammerstein realised that, through this relationship, he
could explore other issues such as slavery, the abuse of power and
forbidden love to the plot’s great advantage.
Given the emerging limitations of Gertrude Lawrence’s aging singing voice,
the Tuptim and Lun Tha characters provided Rodgers with the opportunity to
compose melodies which were more expressively romantic and melodic.
Another major change from the book was to have the King die at the end of
the show. The King is, in fact, a more sympathetic character in the musical
than in the book. The musical omits the torture and burning at the stake of
the two young lovers. In a symbolic representation of the loss of his power,
the King, having taken up the lash to punish Tuptim for her forbidden love of
Lun Tha, is unable to use it when shamed by the horrified gaze of Anna.
Down to Work!
“Suddenly Lucky”, a song cut from
South Pacific, was given new lyrics by
Oscar Hammerstein and became
“Getting to Know You”
in
Rodgers and Hammerstein’s
The King and I !
Richard Rodgers was, for a period of time, unable to work on the score
because of severe back pain. Hammerstein, on the other hand, got down to
work almost immediately. In the middle of 1950 he wrote the first scene of
the show before leaving for London to see a West End production of their
other hit show, Carousel. The second scene was written while in London.
Most of the book of Rodgers and Hammerstein’s The King and I had been
completed before Rodgers had had a chance to set all but a handful of the
show’s songs.
Rodgers and Hammerstein
A set designer, Jo Mielziner, a costume designer, Irene Sharaff, a producer,
Leland Hayward and a choreographer, Jerome Robbins were all engaged.
Robert Russell Bennett was to orchestrate Rodgers’ music and Trude
Rittmann, pianist, musical director and film-score composer was asked to
arrange the music for the “ballet” sequence, “The Small House of Uncle
Thomas” in Act 2.
Jo Mielziner at work. Image from Mary Henderson’s:
Mielziner: Master of Modern Stage Design
At the time of its first performance, Rodgers
and Hammerstein’s The King and I was
the most expensive production they had
ever mounted.
Getting to know the Cast
None of the children
cast for the first performance of
Rodgers and Hammerstein’s The King and I
were Thai!
Rex Harrison
The King!
The first choice for the role of King
was Rex Harrison who had already
played the role in the 1946 film. Noël
Coward was unavailable and Alfred
Drake, the first Curly in Oklahoma,
made so many demands in his
contract that he virtually disqualified
himself from any chance of getting
the role. It was Mary Martin, the
original Nellie Forbush in South
Pacific, who came to the rescue. She
suggested that a Russian-American
by the name of Yul Brynner audition
for the role. Brynner was already a
successful television director and
expressed a reluctance to return to
the stage. However, after reading
Hammerstein’s script he relented
and auditioned for the role.
Yul Brynner, the first King in
Rodgers and Hammerstein’s The King and I,
performed the role 4,625 during his career!
It is estimated that 8 million people saw him
perform the King in live performances!
Gertrude Lawrence and Yul Brynner
“Shall we Dance”
Anna
From the very beginning Rodgers
and Hammerstein had their doubts
about whether or not Gertrude
Lawrence was suitable for the role of
Anna. In an act that could almost be
regarded as inflammatory, Rodgers
had the first Tuptim, Doretta Morrow,
sing the entire score to Lawrence
who, to her credit, listened calmly.
The very next day Rodgers was
given an icy reception, Lawrence
feeling that the composer’s actions
were aimed at highlighting her
perceived vocal deficiencies. Any
doubts Rodgers and Hammerstein
had about her suitability for the role
were quickly laid to rest by the sheer
force of her acting and her imposing
presence on stage.
The dresses worn by Gertrude Lawrence
in the role of Anna weighed as much as
34 kilograms!
Mary Martin
Minor Roles
The first Lady Thiang, the King’s
chief wife was Dorothy Sarnoff, an
American operatic soprano and
music theatre actress. Doretta
Morrow an American dancer, singer
and actress played the first Tuptim.
The male roles were allocated as
follows. The role of Lun Tha was
played by Larry Douglas, Prince
Chulalongkorn was played by
Johnny Stewart and the Kralahome,
the King’s prime minister, was played
in the try-out performances by
Mervyn Vye. When Vye’s only solo
song “Who would refuse?”, was cut
in an attempt to shorten the show’s
duration, he left and was replaced by
John Juliano. Anna’s son, Louis, was
played by Sandy Kennedy.
The first performances
of
Rodgers and Hammerstein’s The King and I
were over 4 hours in length!
Up and Running!
Yul Brynner (The King) was asked to shave
off his hair by the show’s costume designer
Irene Sharaff. At first he declined, but it was
so well received he continued to perform the
role of the King bald.
His bald head...became his trademark!
The St James Theatre, Broadway
After try-out performances in New
Haven, Connecticut and Boston,
Massachusetts,
Rodgers
and
Hammerstein’s The King and I was
considered to be too long and a
great number of cuts were made to
shorten the show. It finally opened at
the St. James Theatre on Broadway
on March 29, 1951 and was an
instant success. Receiving rave
reviews it went on to become the
fourth longest running musical on
Broadway for its time, completing a
run of 1,246 performances eventually
closing on March 20, 1954.
In October of 1953 the show opened
at the Theatre Royal, Drury Lane, in
London. It ran for 926 performances.
Rodgers and Hammerstein's The
King and I has been revived many
times since.
After giving up the stage, Dorothy Sarnoff,
the original Lady Thiang in the first
production of Rodgers and Hammerstein’s
The King and I, embarked on a career as an
image consultant. One of her clients was
Jimmy Carter, 39th President of the
United States of America!
The Cast
THE CAST
Anna Leonowens
A widowed British schoolteacher employed by
the King of Siam to teach English and Western
knowledge to his children and wives
The King of Siam
King Rama IV (King Mongkut) of Siam
Lady Thiang
The King’s chief wife
Lun Tha
A Burmese envoy to the court of Siam who is in
love with Tuptim
Tuptim
A Burmese slave given to the King to be one of
his junior wives
Prince Chulalongkorn
The King’s son and heir to the throne
The Kralahome
The King’s Prime Minister
Louis Leonowens
Anna’s son
Lisa McCune as Anna and Teddy Tahu Rhodes as The King in the 2014 Australian Production of
Rodgers and Hammerstein’s The King and I. Photography by Brian Geach
Lisa McCune as Anna in the 2014 Australian Production of
Rodgers and Hammerstein's The King and I. Photography by Brian Geach
THE PLOT
ACT 1
TIME:
The early 1860’s.
SETTING:
The Royal City of Bangkok
in the Kingdom of Siam.
(now Thailand)
ACT 1 SCENE 1
On the boat bound for Bangkok
Anna Leonowens, a head strong, widowed schoolteacher arrives with her
son Louis in the royal capital city of Bangkok in the Kingdom of Siam. Anna
has been employed by the King to teach the English language and Western
style knowledge to his children and wives. Anna’s young son, Louis,
becomes fearful of the King’s prime minister, the Kralahome, who has come
to escort them to the palace and not to a private residence as had been
agreed. Anna voices her displeasure at this development and wonders if she
has made the right decision to come to Siam. She comforts and reassures
her son by singing I whistle a happy tune.
ACT 1 SCENE 2
The King’s Library in the Palace
Anna and her son have been confined to their rooms in the palace for
several weeks. In the palace library, the King is presented with a gift. Tuptim,
a Burmese slave, is to be given to the King as a peace offering. The King
admires his gift unaware that she is secretly in love with the young Burmese
scholar and envoy Lun Tha, who has escorted her to Siam. The King
departs and alone, Tuptim declares that he may own her body but not her
heart. My Lord and Master
A scene from Rodgers and Hammerstein's The King and I. Photograph by Joan Marcus
ACT 1 SCENE 2 continued
Anna is finally given an audience with the King and he shows his delight
when she demonstrates her awareness that she is part of his plan to
modernise Siam. When Anna raises the issues of her salary, her days off
and of her house that was meant to be built adjacent to the palace, the King
becomes dismissive and orders her to talk with his wives. Upset, Anna is on
the verge of storming out but the King’s wives become interested in the
shape of her dress and whether or not she has children. Lady Thiang and
Anna talk about the love of a woman for a man, and she tells the wives
about her husband Tom. Hello Young Lovers
The King re-enters and orders Anna to stand and meet his children. March
of the Siamese Children. Beguiled, Anna is won over and decides to stay.
ACT 1 SCENE 3
In front of the curtain
Prince Chulalongkorn, the King’s son and heir to the throne, is on his way to
school. The King enters and enquires about his learning. Anna has taught
him a proverb specifically aimed at reminding the King about Anna’s
promised house. Annoyed, the King asks if the children have learnt nothing
more. Chulalongkorn tells the King of the things they have learnt but, unsure
what to believe, asks his father for advice. The King dismisses him and
expresses his own bewilderment. A Puzzlement.
The March of the Siamese Children from Rodgers and Hammerstein’s The King and I.
Photograph by Joan Marcus
ACT 1 SCENE 4
The School Room
Anna is hard at work teaching the King’s children and wives English. The
Royal Bangkok Academy The children are surprised when they see a map
showing how small Siam is compared to other countries in the world. When
one of the children disputes Siam’s insignificance Anna tells the children that
England is even smaller. Now that she has met the people of Siam she is
beginning to understand them. Getting to Know You
The lesson continues and the children find it increasingly difficult to accept
what they are being taught: walking on water (ice) and lace that falls from
the sky (snow). The once orderly classroom becomes chaotic just as the
King enters and to restore calm, he orders the children to believe what they
are taught. Once again Anna brings up the matter of the house much to the
King’s annoyance. Anna threatens to return to England and the children beg
her not to. The King promises Anna servants and a bigger room in the
palace but Anna is dismissive. The King, frustrated says he will hear NO
more of the matter and dismisses the school.
Lu Tha comes upon Tuptim and they sing of their secret love for each other.
We kiss in a Shadow She senses that someone is watching and urges
Lun Tha to leave.
Prince Chulalongkorn and Louis meet after lessons and discuss their
puzzlement at the behaviour of their parents.
Anna and Louis with the royal children in the Schoolroom from
Rodgers and Hammerstein’s The King and I.
Photograph by Joan Marcus
ACT 1 SCENE 5
Anna’s Bedroom
In her bedroom, an indignant Anna’s anger grows after her confrontation
with the King. Shall I tell you what I think of You
Late in the night, Lady Thiang, the King’s head wife, enters and asks Anna
to go to the King. She explains that no-one has spoken to him in the way
that Anna has and that agents of Siam have found letters to the British
government accusing the King of being a barbarian. He is deeply troubled.
Lady Thiang convinces Anna that the King needs her support. Something
Wonderful
ACT 1 SCENE 6
The King’s Library
Anna meets an anxious King in the palace library. He tells Anna that the
British intend to send a diplomat, Sir Edward Ramsay, to Bangkok in order to
determine if he is truly a barbarian. Anna “guesses” that the King will
entertain Sir Edward in the European style and that his wives will put their
“best foot forward” dressed in European fashion. It is also decided that a
version of “Uncle Tom’s Cabin”, written by Tuptim, will be presented as
entertainment for the visiting dignitaries. A fine dinner and a ball will
convince them that the King is no barbarian. The Kralahome announces that
the British are arriving early. Anna and the wives are to stay up all night in
order to prepare. In friendship, the King promises Anna her house.
The King’s Palace from Rodgers and Hammerstein’s The King and I. Photograph by Joan Marcus
ACT 2
TIME:
The early 1860’s.
SETTING:
The Royal City of Bangkok
in the Kingdom of Siam.
(now Thailand)
ACT 2 SCENE 1
The reception room at the Palace
The wives of the King, dressed in their European-style dresses are gathered
in the reception room of the palace and they sing of how uncomfortable
Western clothing is. Western People Funny
In the rush to prepare, Anna has forgotten to provide the wives with
undergarments. When Sir Edward arrives and uses his monocle to observe
them, they fear the “evil eye” and lift their dresses over their heads as they
flee. Sir Edward is introduced to the King who apologises for the behaviour
of his wives. Sir Edward is diplomatic about the incident and all exit for the
dinner.
ACT TWO SCENE 2
Near the Theatre Pavilion
Lady Thiang informs Tuptim that dinner has concluded and that she should
make her way to the theatre pavilion to begin the play. When Tuptim uses
the excuse that she is outside learning her lines, Lady Thiang confesses to
having seen her with Lun Tha. She has not told the King for fear of hurting
him, but Lun Tha must leave Siam at once.
Lun Tha appears and tells Tuptim that he has an escape plan. They arrange
to meet after the performance. I have Dreamed Anna happens upon the
couple and warns them of the danger in their actions. Unable to convince
them to remain she gives them her blessing Hello Young Lovers (reprise)
Tuptim and Lun Tha in Rodgers and Hammerstein’s The King and I.
Photograph by Joan Marcus
ACT 2 SCENE 3
The Ballet
Tuptim’s play, The Small House of Uncle Thomas is presented to the
guests as a Siamese style ballet, narrated by Tuptim herself. In the play, the
evil King, Simon of Legree, pursues a runaway slave, Eliza. In a miracle,
Eliza is saved by Buddha who freezes a river and hides her in the snow.
Buddha melts the river and the evil King Simon and his hunting party are all
drowned. Tuptim’s anti-slavery message is obvious to all.
The Ballet from Rodgers and Hammerstein’s The King and I. Photograph by Joan Marcus
Simon of Legree. “The Small House of Uncle Thomas” ballet from
Rodgers and Hammerstein’s The King and I.
Photograph by Joan Marcus
ACT 2 SCENE 4
The King’s Library
The dinner with its accompanying entertainment has proved to be a great
success. Pleased with the way things have gone, the King gives Anna a ring
and insists that she put it on her finger. The Kralahome enters and tells the
King that the secret police have news for him. Spies have told him that the
British think highly of him and that they do not consider him a barbarian. The
King returns to inform Anna that Tuptim is missing from the palace and asks
her if she knows anything of the matter. Anna is evasive saying that she
knew Tuptim was unhappy. The subject turns to poetry and the “strange”
idea of Western love. Song of the King. Anna tries to explain the concept of
courtship to him and the King insists that she teach him how to dance. Shall
we Dance.
The mood is shattered with the news that Tuptim has been found and that a
search is being conducted for Lun Tha. Brought before the King, Tuptim
denies that Lun Tha was her lover. Anna attempts to persuade the King not
to harm Tuptim but he is adamant that Anna’s influence shall not prevail.
Taking the whip he turns to lash Tuptim, but under Anna’s disapproving gaze
he is unable to do so and leaves abruptly. Phra Alak announces that Lun
Tha has been found dead. In remorse, Tuptim swears to kill herself as she is
dragged away. No more is heard of her. Anna, regretting that she ever came
to Siam returns the ring to the Kralahome.
The King and Anna.
“Shall We Dance” from Rodgers and Hammerstein’s The King and I.
Photograph by Joan Marcus
ACT 2 SCENE 5
A Room in Anna’s House
Months pass with no contact between the King and Anna. Prince
Chulalongkorn visits Anna and sees that she is packed and ready to leave
Siam. He presents Anna with a letter from the King who is unable to resolve
the conflicts within himself. He is dying.
ACT 2 SCENE 6
The King’s Study
Anna hurries to the King’s bedside to find him surrounded by his wives and
children. They beg her not to leave them and, deeply moved, she
understands how much she loves them and how much they need her. The
dying King instructs Anna to take back the ring and instructs her to take
dictation from Chulalongkorn, the heir apparent. Chulalongkorn announces
regally that, henceforth, there shall be no more kowtowing, a custom that
Anna despised. As Chulalongkorn continues his father dies. Anna kneels by
the body of the late King, tenderly holding his hand and kissing it. The wives
and children all bow or curtsey in a final act of obeisance to the old king, and
in an act of respect for the successor.
THE MUSIC
RODGERS AND HAMMERSTEIN’S THE KING AND I
ACT 1
PRINCIPAL MUSICAL NUMBERS
Overture
Played before the curtain rises, the overture settles the
audience and sets the mood.
I whistle a Happy Tune
Sung by Anna to re-assure her son Louis on their arrival
in Bangkok.
My Lord and Master
In this song Tuptim, a Burmese slave given to the King as
a peace offering, declares that the King may own her
body but he can never have her heart.
Hello Young Lovers
Anna sings this lovely waltz melody to the wives of the
King. She thinks of her departed husband Tom but the
song is really dedicated to young lovers everywhere.
The March of the Siamese
Children
Rodgers was able to give this orchestral piece a
wonderful Asian flavour. It is played as the royal children
enter and are presented to Anna. As they grow in age
and size, the music gets louder. The loudest music is
reserved for Prince Chulalongkorn, the future king.
RODGERS AND HAMMERSTEIN’S THE KING AND I
ACT 1 continued
PRINCIPAL MUSICAL NUMBERS
A Puzzlement
As he attempts to modernise Siam by encouraging a
European style of education, the King sings of his
confusion over what or what not to believe.
Getting to Know You
In the schoolroom, Anna sings of her growing affection for
the royal children.
We Kiss in a Shadow
Tuptim and Lun Tha sing of their secret love for each
other. To avoid being discovered they must “Kiss in a
Shadow”.
Shall I tell You what I think
of You
After a confrontation with the King, Anna “imagines” what
she would like to say to his face, fully realising that she
cannot. As the song progresses her anger grows.
Something Wonderful
Lady Thiang, the King’s chief wife, sings this tender
melody pleading with Anna to go to the troubled King. In
the song we learn of another side to the King and of Lady
Thiang’s love for him.
RODGERS AND HAMMERSTEIN’S THE KING AND I
ACT 2
PRINCIPAL MUSICAL NUMBERS
Entr’acte
A smaller orchestral piece played before the curtain rises.
Western People Funny
Lady Thiang and the wives sing of their amusement at
Western dress and customs.
I have dreamed
Lun Tha tells Tuptim of his plan to escape with her.
Together, they sing of their love for each other.
The Small House of Uncle
Thomas
The music to accompany Tuptim’s play makes use of
Asian sounds and was arranged by Trude Rittman.
Song of the King
Anna and the King sing of their differing attitudes to
women and love.
Shall We Dance
Anna teaches the King to dance. But this song is so
much more than just a dance. It is a commentary on
respect, morality, the relationship between man and
woman, physical attraction and power. It is what the show
is about.
East meets West
Richard Rodgers clearly understood that the Siamese setting of the musical
meant that his music needed not only to be foreign and oriental sounding,
but familiar and appealing to the ears of Broadway audiences.
Two techniques by which Rodgers was able to achieve a sense of the
oriental in his music were:
• the use of the interval of the perfect fifth
• the sprinkling of dissonance throughout the score
The songs for Anna are much more conventional and Western sounding
than those of written for the Siamese characters.
Anna’s songs such as “I whistle a Happy Tune”, “Hello Young Lovers” and
“Getting to know You” are primarily constructed from simple harmonies
derived from Chords I, IV and V of the Western diatonic scale.
On the other hand, the music for “The March of the Siamese Children”,
“Praise Buddha”, and the songs for Lady Thiang and the King make use of
the bareness of intervals such as the Perfect 5th and 4th, and the strident
sounds of dissonances such as the major 7th and the diminished 5th.
THE ORCHESTRA
Keyboard
Acoustic Bass
Percussion
Violin1
Violin 2
Viola
Cello
Flute / Piccolo
Reed 2 / Oboe / Cor Anglais
Clarinet 1
Clarinet 2 / Bass Clarinet
Bassoon
Trumpet 1
Trumpet 2
Horn 1
Horn 2
Trombone
Harp
The 1956 film version of
Rodgers and Hammerstein’s The King and I
was nominated for 9 academy awards.
It won 5.
It was, and still is, banned in Thailand.
After seeing a performance of the show some years after its first
performance on Broadway, Richard Rodgers wrote to Oscar Hammerstein
and suggested to him that the musical was probably their best work. He
intimated that he wasn’t sure how it had all come about but, nonetheless,
their best work.
You would be hard pressed to argue otherwise. Rodgers and Hammerstein’s
The King and I remains one of their best-loved and most frequently
performed works.
SOURCES
SOURCES
Wikipedia
http://en.wikipedia.org/wiki/Anna_Leonowens
members.tripod
http://members.tripod.com/king_anna/leonowens.html
womenshistory.about.com
http://womenshistory.about.com/library/bio/blleonowens.htm
womenshistory.about.com
http://womenshistory.about.com/od/leonowensanna/a/anna
_king_true.htm
Women in European History
http://womenineuropeanhistory.org/index.php?title=Anna_L
eonowens
Wikipedia
http://en.wikipedia.org/wiki/Mongkut
Encyclopedia Britannica
http://www.britannica.com/EBchecked/topic/389268/Mongk
ut
royalty.nu
http://www.royalty.nu/Asia/Thailand/Mongkut.html
Opera Australia - The King and I
https://opera.org.au/the_king_and_i
Anna and the King: digesting difference
http://www.yorku.ca/laps/anth/faculty/esterik/documents/ann
a.pdf
SOURCES
Inside the King and I: An analysis by Scott Miller
http://www.newlinetheatre.com/kingandichapter.html
The Newline Theatre
http://www.newlinetheatre.com/sitemap.html
Sheetmusicplus
http://www.sheetmusicplus.com/broadway/the-king-and-isheet-music/300201
The King and I Conductor’s Notes
http://www.music.vt.edu/faculty/howell/_king_i_notes.htm
metrolyrics
http://www.metrolyrics.com/the-king-and-i-lyrics.html
The King and I Trivia
http://www.theoperablog.com/watercooler-wisdomrodgers-hammersteins-the-king-and-i/
Olney Theatre Centre
http://issuu.com/olneytheatre/docs/draft.kandi.contextguid
e/10
The King and I Australia
http://thekingandimusical.com.au
Anna and the King of Siam (film) 1946
http://en.wikipedia.org/wiki/Anna_and_the_King_of_Siam_
(film)
The King and I
http://en.wikipedia.org/wiki/The_King_and_I
SOURCES
Wikimedia Commons
http://commons.wikimedia.org/wiki/Main_Page
Wikipedia
http://www.wikipedia.org
youtube
http://www.youtube.com/
The Rodgers and Hammerstein Organisation
http://www.rnh.com
The Rodgers and Hammerstein Organisation
http://www.rnh.com/show/60/the-king-and-i
Broadway Musicals
Martin Gottfried. AbraDale Press Harry N Abrams, Inc.
New York 1979 ISBN 0-8109-8060-6
The English Governess at the Siamese Court
Gutenberg Press e book
Musicals The Complete Illustrated Story of the
World’s Most Popular Entertainment
Kurt Gränzel.
26661
Broadway. The American Musical.
Michael Kantor and Laurence Maslon. Bulfinch Press.
2004 ISBN 0-8212-2905-2
Carlton Publishing 1995 ISBN 1 8444