The King and I [Original 1951 Cast] - Gertrude Lawrence | Songs, Reviews, Credits | AllMusic The King and I [Original 1951 Cast] AllMusic Rating google+ AllMusic Review by William Ruhlmann Richard Rodgers and Oscar Hammerstein II's fifth musical, The King and I, was their first to be designed as a star vehicle -- written at the behest of British stage star Gertrude Lawrence to mark her return to the New York musical stage after ten years in 1951. The show was a musicalization of Margaret Landon's 1944 novel Anna and the King of Siam, in turn based on the diaries of Anna H. Leonowens, who had been tutor to the children of King Mongkut of Siam in the 19th century, and it had already been adapted into a nonmusical film in 1946. Rodgers and Hammerstein were somewhat hamstrung by the principal cast members. Neither Lawrence nor Yul Brynner, a television director hired to play the part of the king, had much of a singing voice.

The songwriters solved this problem by giving the rangy songs -- "We Kiss in a Shadow," "Something Wonderful," and "I Have Dreamed" -- to the secondary characters: Tuptim (Doretta Morrow), Lady Thiang (Dorothy Sarnoff), and Lun Tha (Larry Douglas), respectively. Brynner, who was billed as only a supporting player at first (though he later achieved star billing), got a patter song, "A Puzzlement." As the star, Lawrence had to have several numbers, but Rodgers and Hammerstein played upon her role as a teacher to give her two simple tunes to be sung to children -- "I Whistle a Happy Tune" and "Getting to Know You" -- as well as a patter song expressing her anger with the king, "Shall I Tell You What I Think of You?" Even "Hello, Young Lovers" and her duet with Brynner, "Shall We Dance?," were pleasant ditties rather than demanding theater songs. And yet, the musical restrictions made for a highly enjoyable, pop-oriented score with slight Oriental touches.

"Hello, Young Lovers" and "We Kiss in a Shadow" became minor hits, but the most memorable songs over time ended up being "I Whistle a Happy Tune" and "Getting to Know You," which became children's standards. The original Broadway cast album just missed topping the bestseller charts and remained listed there for over a year. It has remained in print through various reissues over the years. The first CD version appeared in 1990. It was repackaged with new liner notes for Rodgers and Hammerstein's 50th anniversary in 1993, and this version was given a 24-bit remastering for a reissue released on May 16, 2000. Track Listing SHALL WE DANCE? (Lyrics) - THE KING AND I - YouTube SHALL WE DANCE? (Lyrics) - THE KING AND I Want to watch this again later? Sign in to add this video to a playlist. Need to report the video? Sign in to report inappropriate content. Rating is available when the video has been rented. This feature is not available right now. Please try again later.

Published on Jul 15, 2012 For educational purposes only and no copyright infringement intended. About the movie: The King and I is a 1956 musical film made by 20th Century Fox, directed by Walter Lang and produced by Charles Brackett and Darryl F. Zanuck. The screenplay by Ernest Lehman is based on the Richard Rodgers and Oscar Hammerstein II musical The King and I, based in turn on the book Anna and the King of Siam by Margaret Landon. The plot comes from the story written by Anna Leonowens, who became school teacher to the children of King Mongkut of Siam in the early 1860s. Leonowens' story was autobiographical, although a recent biographer has uncovered substantial inaccuracies and fabrications. For additional text, please visit; The King and I Sheet music: I Whistle a Happy Tune (Concert band) I Whistle a Happy Tune $40.00 - See more - Buy online Lead time before shipment : 2 to 3 weeks By Richard Rodgers, Oscar Hammerstein. Arranged by John Moss. Essential Elements - Concert Band, Expert Level (Grade 2).

Score and full set of parts. Book only. Published by Hal Leonard. Listen audio From the ever popular musical The King and I, here is the perfect flute feature for young bands. Written with repetitive rhythmic patterns that are easy to learn and solid scoring for the entire band, this is an enjoyable arrangement that everyone will recognize. Size 9x12 inches. For USA : $2.99 (no matter how much items your buy) For other countries : $2.99 minimum cost SIMILAR ARTICLES 2-part Hal Leonard ((from The King and I) Discovery Level 1). Arranged by Cristi Cary Miller. 2-Part. Discovery Choral. 8 pages $1.748 (8% off) See more - Buy online Pre-shipment lead time: 3 to 5 business days Flute Hal Leonard Flute Ensemble. By Richard Rodgers, Oscar Hammerstein. Arranged by James Christensen. Pops For Ensembles Level 2.5. Published by Hal Leonard. Choral CD [Accompaniment CD] Hal Leonard (from The King and I Discovery Level 1). Arranged by Cristi Cary Miller. VoiceTrax CD. Discovery Choral.

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45 show songs from the West End to Broadway have been specially chosen to create an anthology tï¿½ Piano solo [Score] Amsco Wise Publications Piano - Score / 160pp, 2005 / Add a large helping of glitz and glamour to you repertoire with this bumper selection of showtunes, all arranged for the solo Pianist! 45 show songs from the West End to Broadway have been specially cï¿½ Piano solo [Score] Amsco Wise Publications Piano - Score / 160pp, 2002 / A new addition in the 'Great Piano Solos' series, containing showtunes, jazz and blues classics, film themes, standards and classical pieces for the solo pianist. Includes Liebestraume, Cry Me A Riverï¿½ Lyrics only Hal Leonard Piano solo [Score] Hal Leonard Music from the Animated Musical for Easy Piano.

Includes easy piano arrangements of 8 beloved Rodgers & Hammerstein tunes featured in the animated musical from Morgan Creek / Piano / Easy Piano Songbook / English / 44 / 2008 ï¿½ VRCI © 2000 - 2017 Cookies allow us to personalize content and ads, to provide social media-related features and analyze our traffic. We also share information on the use of our site with our social media partners, advertising and analytics, which can combine them with other information you have provided to them or collected in your use of their services.Fermer Whistle A Happy `Toon' -- A Review of The King and I ANIMATION WORLD MAGAZINE - ISSUE 4.1 - April 1999 Whistle A Happy `Toon' -- A Review of The King and I film review by Ilene Renee Gannaway All images © Morgan Creek.

When most people think of The King and I, one predominant image comes to mind -- that of the dashing Yul Brynner whisking the exquisite Deborah Kerr across a Siamese ballroom to the upbeat, romantic tune, "Shall We Dance?" It's been 43 years since the Rodgers and Hammerstein classic musical first graced the silver screen. And miraculously, neither Yul Brynner nor Deborah Kerr seem to have aged. The only marked change is that instead of being living, breathing human beings, they are now fully animated characters traipsing across 19th Century Siam's tenuous, political landscape in Warner Bros. newest animated feature. Like the stubborn King of Siam who struggles to uphold tradition while simultaneously breaking new cultural and scientific ground for his country, the creative team behind this film wrestles with imitation versus innovation. Though his subject is grand and epic, director Richard Rich (The Swan Princess) has a lot to live up to -- highly successful, prior incarnations of the time-honored musical, as well as the animated feature giants dominated largely by Disney. Unlike the King, Rich and his team ultimately choose to adhere to tradition rather than blaze new trails.

While their film is by no means a watershed, it still proves satisfying in its sincerity. Getting to Know the Story The King and I tells the story of a young English widow who travels to Siam to teach Western ways to the royal children. In the original film, the King claims to have over 100 offspring, though we only meet a dozen or so. In the Rich film, that number has been drastically reduced to eight very charming tykes whom we first encounter in the warm-hearted sequence, "March of the Siamese Children." Those familiar with the 1956 film will notice an utter replication of this commanding yet playful scene with one exception. Instead of the imperial King carrying his shy, peanut-sized daughter to her siblings, he comically slides her across the shiny floor and precisely into place beside the other prince and princesses. It's a wonderful image that illustrates the King's humanity as well as his love for his children and shows the power of animation to exaggerate and heighten special moments. Shy, giggly, servant women roam freely through the palace, but no mention is made to their being the king's multifarious wives or the children's mothers.

Apparently, Rich wants to preserve his G-rating while at the same time remaining sensitive to the realities of the Siamese royal court. The film largely pays lip service to any delicate issues -- delicate at least by Western standards -- especially the off-screen relationship between the King and his newest concubine, Tuptim, who is merely referred to as another servant girl. At first, the headstrong Anna and the equally strong-minded King clash. The King may espouse scientific progress and want to Europeanize his country in theory, but he cannot wrap his finger around the modern notions Anna advocates of freedom, individual will and even true love. However, he must reconcile these notions quickly if he is to avoid the disparaging label of barbarian by the British ambassador who wishes to make the `backward' Siam a protectorate of `civilized' England. Kralahome, the evil Siamese Prime Minister, is bent on facilitating the King's failure so that he may take over the country and ensure his interest in the ivory trade. Admittedly, the plot sounds a little too sophisticated and complex for the utterly exhausted, animated feature formula honed by Disney.

According to this formula, you take a clear and simple story, dominate it with visuals, not dialogue, add a strong villain who proves a viable threat to a single protagonist, and fold in a few playful, animal sidekicks that deliver side-splitting antics to amuse younger audience member. Be sure to bake for 90 minutes. Rather than remake the live-action film shot by shot, Rich and screenwriters Jacqueline Feather and David Seidler have actually risen to the challenge and, for better or worse, created a film that follows the animation recipe step by step...well, almost. The animal sidekicks, Tuskers (an elephant) and Moonshee (a monkey) are cute but utterly forgettable, token props obviously included for merchandising purposes. The villain, Kralahome, is an uninteresting imitation of the Vizier in Disney's Aladdin. His agenda is overly-complicated and virtually impossible for youngsters to follow.

Only Kralahome's tooth-losing henchman, Master Little (voiced by Saturday Night Live castmember Darrell Hammond), provides any real comic relief, spewing humorous one-liners such as, `Feel free to touch any sharp-pointed object you see.' Still one wonders how politically correct audiences are likely to judge him. He is, after all, a rude Asian caricature largely in the vein of Mickey Rooney's funny but highly offensive Mr. Yunioshi in Breakfast at Tiffany's. Tuptim and Tuskers share a tender moment. Something Wonderfully Unfamiliar Where the filmmakers do succeed is in revising the secondary love story between Tuptim and the Crown Prince, and in newly-interpreting the showcase song, "Getting to Know You." In the original film, Tuptim arrives at the palace already in love with Lun Tha, the young man who brought her to Siam from Burma. They plot to run away together, but Tuptim is caught and Lun Tha drowned in the river. In this adaptation, Tuptim falls in love with the King's son who strongly resists change, believing that his home is the largest, most powerful country in the world.

It isn't until he meets Tuptim and wishes to marry her, however, that his views alter. Suddenly Siam's fettered traditions, most notably the custom of arranged marriages and subservient harems, don't hold true for him anymore. In the earlier version, the Crown Prince has no real, tangible reason for transforming his beliefs. In this `90s version, love, not just Anna's teachings, motivate him to lead his country in a new direction, to realize his father's vision and to reconcile the moral conflicts which prevented the King from fully embracing change. Tuptim and the Crown Prince's `Romeo and Juliet' romance not only illustrates the need for change in Siam, it facilitates it. This is smart storytelling. The filmmakers are also thematically creative in the "Getting To Know You" musical sequence in which Anna and the children share their excitement over learning about each other. The 1956 film offered a charming but static scene in which Anna sings to the children in the classroom and then does a delightful fan dance with the children's mothers. As sweet as the number is, the song is only about the people in that room.

In Rich's film, Anna and the children venture outside the palace walls for the very first time and take in all -- the good and the bad, the wealthy and the poor -- that is Siam. The song works on two levels. Anna and the kids learn about each other, and more importantly, they learn about the Siamese subjects who have previously been invisible to them. While the musical sequence is no stylistic breakthrough, it offers richly textured backgrounds, colorful props, and intricate dances that bring the Eastern culture alive. "Getting to Know You" does for Bangkok what "Do Re Me" does for Salzburg in The Sound of Music -- it makes the setting a character in itself. The hijinks of Master Little are always getting him into trouble. Shall We Animate? One of the benefits of animating The King and I is the ability to render landscape on an epic scale, to make external an essentially internal world. Both on stage and in live-action, the setting for this story is predominantly the King's palace, and though it is effulgent and colossal, the repetition of the interiors makes it feel paradoxically claustrophobic.

This works well on a thematic level, but it still lacks the possibility of escape and freedom the bucolic landscape represents. Though a contemporary live-action film could certainly reproduce 19th Century Bangkok, animation offers a more unique interpretation. The lotus blossoms, the temples, and the rice fields are all brought into accentuated focus; they're not merely scene dressing. For all of its good qualities, The King and I ultimately does not give Disney a run for its money in the same way Fox's Anastasia did. The character designs are basically modeled after the original film cast, the character animation is uninspired, straight-to-video fare and most of the musical sequences, with the exception of "Getting to Know You," are not all that visually imaginative. Like the King of Siam, Rich Animation is trying very hard to become a contender among the animation superpowers, but they've got a long way to go. Still, we cannot deny they have rendered accessible for younger audiences a story with complex social, political and gender issues, plus Rodgers and Hammerstein's timeless songs. Naturally, the one thing that's virtually impossible to criticize is the music. Regardless of the film's strengths and weaknesses, everyone leaves the theater whistling a happy tune.

Ilene Renee Gannaway is a freelance writer who served as Director of Development for Turner Feature Animation and as Manager of Development for Hanna-Barbera Cartoons. She is currently pursuing her Masters Degree in English Literature and unashamedly admits to loving Rodgers and Hammerstein musicals. Note: Readers may contact any Animation World Magazine contributor by sending an e-mail to editor@awn.com. Oscar Hammerstein II :: Rodgers & Hammerstein :: Bio Details Rodgers & Hammerstein Hammerstein II, Oscar Oscar Hammerstein II was born on July 12, 1895 in New York City. His father, William, was a theatre manager and for many years director of Hammerstein's Victoria, the most popular vaudeville theatre of its day. His uncle, Arthur Hammerstein, was a successful Broadway producer and his grandfather, Oscar Hammerstein, a famous opera impresario. Hammerstein started writing lyrics for the Columbia University Varsity shows while studying law. His earliest works included musical comedies written with a Columbia undergraduate seven years his junior named Richard Rodgers.

(The 1920 Varsity show, FLY WITH ME, was composed by Rodgers with lyrics by both Hammerstein and a fellow classmate of his named Lorenz Hart.) Withdrawing from Columbia Law School after his second year to pursue a career in theatre, Hammerstein took a job with his uncle as an assistant stage manager. In 1919 Hammerstein's first play, THE LIGHT, was produced by his Uncle Arthur; it lasted four performances. Undaunted, he continued to write both lyrics and librettos, principally with Otto Harbach as his collaborating author. His first success, with Harbach, Vincent Youmans and Herbert Stothart, was WILDFLOWER in 1923. Hammerstein found his niche with some of the greatest composers of his day, breathing new life into the moribund artform of operetta with such classics as ROSE-MARIE (music by Rudolf Friml), THE DESERT SONG (Sigmund Romberg), THE NEW MOON (Romberg), and SONG OF THE FLAME (George Gershwin).

With Jerome Kern, Hammerstein wrote eight musicals, including SWEET ADELINE, MUSIC IN THE AIR and their masterwork, SHOW BOAT. His last musical before embarking on an exclusive partnership with Richard Rodgers was CARMEN JONES, the highly-acclaimed 1943 all-black revision of Georges Bizet's tragic opera CARMEN. During the years that Hammerstein was redefining the terms of operetta, Richard Rodgers and Lorenz Hart were challenging the accepted norms of musical comedy with shows that set new standards for wit, sophistication and innovation. The Rodgers & Hammerstein partnership began with OKLAHOMA! (1943). Like Hammerstein's SHOW BOAT and Rodgers & Hart's PAL JOEY, the first Rodgers & Hammerstein musical was a ground-breaking milestone, blending musical comedy and operetta into a whole new genre -- the musical play. OKLAHOMA! was also the start of the most successful partnership in Broadway history and was followed by CAROUSEL, ALLEGRO, SOUTH PACIFIC, THE KING AND I, ME AND JULIET, PIPE DREAM, FLOWER DRUM SONG, and THE SOUND OF MUSIC.

Rodgers & Hammerstein wrote one musical specifically for the big screen -- STATE FAIR -- and one for television -- CINDERELLA. Collectively, their musicals have garnered dozens of awards including: Pulitzer Prizes; Tonys, Oscars, Emmys, and Grammys; and Drama Desk, Drama Critics’ Circle, Outer Critics’ Circle, Laurence Olivier, and Evening Standard Awards. As producers, Rodgers & Hammerstein presented plays, musicals and revivals, including John van Druten's I REMEMBER MAMA, Anita Loos' HAPPY BIRTHDAY, Irving Berlin's blockbuster ANNIE GET YOUR GUN, the national tour of SHOW BOAT (1947-49) and six of their own stage musicals (from the Pulitzer winning SOUTH PACIFIC in 1949 to the Tony winning THE SOUND OF MUSIC ten years later). They also produced the motion picture version of OKLAHOMA! and founded their own music publishing firm, Williamson Music (basing the name on the fact that both of their fathers were named William.) Oscar Hammerstein II was a member of the board of directors of many professional organizations, including the Dramatists Guild and the Screen Writers' Guild.

He received many personal honors and awards including five honorary degrees, two Pulitzer Prizes, two Academy Awards and five Tony Awards. His last musical was THE SOUND OF MUSIC written with Richard Rodgers in 1959; his last song was "Edelweiss," written for that musical during its Boston tryout. Oscar Hammerstein II died at his farm in Doylestown, Pennsylvania, on the morning of August 23, 1960. In 1995 Hammerstein's centennial was celebrated worldwide with commemorative recordings, books, concerts and an award-winning PBS special, "Some Enchanted Evening." The ultimate tribute came the following season, when Oscar Hammerstein II had three musicals playing on Broadway simultaneously: SHOW BOAT (1995 Tony Award winner, Best Musical Revival); THE KING AND I (1996 Tony Award winner, Best Musical Revival); and STATE FAIR (1996 Tony Award nominee for Best Score.) "The Careful Dreamer," a Time Magazine cover story on Oscar Hammerstein II, was published on October 20, 1947.

A biography, Getting to Know Him by Hugh Fordin, was first published by Random House in 1977. A revised edition of Hammerstein's Lyrics, edited by his son William Hammerstein and containing an introductory essay by the lyricist plus a preface by his protege Stephen Sondheim, was published by Hal Leonard Publishing in 1985. THE COMPLETE LYRICS OF OSCAR HAMMERSTEIN II was published by Alfred A. Knopf in 2008. News about this writer Exclusive: Audra McDonald sings "Climb Ev'ry Mountain" Broadway treasure and 5-time Tony Award winner Audra McDonald sings "Climb Ev'ry Mountain" in this newly released clip from NBC The Sound of Music Live's companion soundtrack.

Read More Live from Lincoln Center Presents RODGERS & HAMMERSTEIN'S CAROUSEL Live From Lincoln Center presents the New York Philharmonic’s production of Rodgers & Hammerstein’s iconic American musical, Carousel, featuring a star-studded cast including Kelli O'Hara, Nathan Gunn, Stephanie Blythe, Shuler Hensley, Jason Danieley, Jessie Mueller, Kate Burton, John Cullum and New York City Ballet dancers Robert Fairchild and Tiler Peck. “Rodgers & Hammerstein’s Carousel” is hosted by Audra McDonald and will air on PBS stations on Friday, April 26, 2013 at 9 p.m. (ET) (check local listings) Read More Rodgers + Hammerstein's Cinderella Cast Recording The company of RODGERS + HAMMERSTEIN’S CINDERELLA will enter the studio on March 18 to preserve the Original Broadway Cast Recording for Ghostlight Records. Read More "A Lovely Night" CINDERELLA Opens on Broadway "OMG! THE ULTIMATE AND MOST ENDURING OF MAKEOVER SHOWS is back in town, and this Cinderella is no passive damsel waiting for a rescuing knight.

SHE TAKES CHARGE OF HER DESTINY." –The New York Times Read More Carrie Underwood To Star as Maria Von Trapp in NBC's Live Broadcast of THE SOUND OF MUSIC Grammy-winning superstar Carrie Underwood to star as Maria Von Trapp in NBC's live broadcast of THE SOUND OF MUSIC based on the original musical. Read More Rodgers & Hammerstein's CINDERELLA Comes to Broadway! A new production of RODGERS & HAMMERSTEIN'S CINDERELLA will arrive on Broadway this season with previews set for January 21, 2013 prior to Opening Night on February 21 at the Broadway Theatre. Read More Pre-release preview of Sierra Boggess & The John Wilson Orchestra Happy Birthday Richard Rodgers! To celebrate, we are proud to share with you this exclusive track, Rodgers' own "I Have Confidence" from The Sound of Music, performed by Sierra Boggess from the upcoming album, RODGERS & HAMMERSTEIN AT THE MOVIES, featuring John Wilson and The John Wilson Orchestra. Read More RODGERS & HAMMERSTEIN'S "PIPE DREAM" TO GET NEW LIVE RECORDING!

Rodgers & Hammerstein's PIPE DREAM will be recorded live at New York City Center's Encores! series this week, and released this Summer on Ghostlight Records. Produced by Rodgers & Hammerstein: An Imagem Company, this preservation of Rodgers & Hammerstein's 1955 Broadway musical rarity marks the first time an Encores! musical has been recorded live. Originally presented on Broadway in the 1955-56 season, and based on John Steinbeck’s novels Cannery Row and Sweet Thursday, PIPE DREAM has not been seen in a full orchestral production in New York City until now. Read More Cast announced for Carnegie Hall's Historic Concert of THE SOUND OF MUSIC! Carnegie Hall today announced that its one-night-only concert performance of The Sound of Music on Tuesday, April 24 at 8:00 p.m. in Stern Auditorium/Perelman Stage will star Laura Osnes as Maria Rainer. Co-starring alongside Osnes will be Tony Goldwyn as Captain von Trapp. Additional cast members include Brooke Shields as Elsa Schräder, Patrick Page as Max Detweiler, and Stephanie Blythe as The Mother Abbess.

Read More Leslie Uggams Joins the cast of PIPE DREAM at Encores! Tony Award–winner Leslie Uggams has joined the cast of Rodgers and Hammerstein’s Pipe Dream, to be presented by New York City Center Encores! series, March 28 – April 1. Ms. Uggams will play Fauna, the proprietress of the Bear Flag Café, the local brothel. Read More Matthew Morrison Hosts New PBS Special, "Oscar Hammerstein II: OUT OF MY DREAMS." Matthew Morrison will host a brand-new PBS special celebrating one of America's greatest theatrical geniuses. OSCAR HAMMERSTEIN II: OUT OF MY DREAMS is a celebration of the most acclaimed lyricist and librettist of the 20th century. Brimming over with movie clips from his greatest musicals, this new PBS special features interviews with Stephen Sondheim, Harold Prince, Shirley Jones, Mitzi Gaynor, Hammerstein family members and others. Read More Laura Osnes to Star in Rodgers & Hammerstein's PIPE DREAM Laura Osnes has been cast as Suzy in the New York City Center Encores!

production of Rodgers and Hammerstein’s Pipe Dream running March 28 - April 1. Pipe Dream will be directed by Marc Bruni with music direction by Rob Berman and choreography by Kelli Barclay, and will play for seven performances at New York City Center, West 55th Street between 6th and 7th Avenues. The Encores! presentation marks the first time the musical will be seen on the New York stage since the original production closed in June 1956. Read More Mark Brokaw to direct the first Broadway-Bound production of Rodgers & Hammerstein's CINDERELLA Mark Brokaw will direct the new, first-ever Broadway-bound production of Rodgers & Hammerstein's CINDERELLA, it has been announced by Robyn Goodman, who will produce the musical along with Aged in Wood Productions. Read More New Recordings of Your Favorite Songs Looking for the perfect gift for the music lover in your life? Here are some new albums that feature some of your favorite songs...

Read More Carnegie Hall Is Alive With The Sound of Music On April 24, 2012 Carnegie Hall will present THE SOUND OF MUSIC in the Stern Auditorium/Perelman Stage , as a gala benefit for Carnegie Hall, this one-night-only concert performance of the beloved musical will provide support for music education programs of the Weill Music Institute. Read More To Whom It May Concern In celebration of the 50th anniversary of Rodgers & Hammerstein 's FLOWER DRUM SONG Nancy Kwan who is best known for her portrayal of Linda Low is hosting a double feature and talk back at the Egyptian Theatre in LA. Read More Never-Before-Seen SOUND OF MUSIC Home Movie Footage Never-before-seen clips from personal home movie footage of the making of "The Sound Of Music" You can find more home movie footage in THE SOUND OF MUSIC FAMILY SCRAPBOOK by Fred Bronson available through Amazon.com starting April, 2012 View All Trivia about this writer Did you know? Oscar Hammerstein II had scant success in the decade between his groundbreaking collaborations with Jerome Kern on SHOW BOAT (1927) and with Richard Rodgers on OKLAHOMA! (1943).

Reflecting on this period during his later triumph, Hammerstein filled a "Seasons Greetings"" advertisement in Variety with a list of his flop shows, titled ""I've done it before and I can do it again.""" In the summer of 1953, the U.S. State Department put Hammerstein on a restricted passport because of concerns about alleged communist activity. Did you know? After Hammerstein passed away, Rodgers needed a new writing partner. For the first time in his career, he turned to himself for words. In 1962, Rodgers crafted new songs for the re-make of STATE FAIR and wrote both music and lyrics for the musical NO STRINGS. When the film version THE SOUND OF MUSIC needed new numbers, Rodgers wrote and composed the songs ?I Have Confidence? and ?Something Good.? Did you know? Oscar Hammerstein's first school was P.S. 9 in New York City, on 81st street and West End Avenue. Did you know? Hammerstein once gave an interview explaining how while working on lyrics for STATE FAIR, "I started to write a song about a girl having spring fever.

And then, with a terrible shock, I realized no state fairs were held except in the autumn. Then I thought, well, maybe she just feels this way, although it is fall, and it gave me an even better theme: 'It Might As Well Be Spring'.""" Did you know? In 1922, Richard Rodgers and Oscar Hammerstein II worked with Herbert Fields and Lorenz Hart on a never-produced musical called WINKLE TOWN. All four Columbia boys would go on to lasting musical theater fame. "Getting to Know You"" from THE KING AND I begins with the lines, ""It's a very ancient saying, / But a true and honest thought, / That if you become a teacher / By your pupils you'll be taught."" When Oscar Hammerstein II was later questioned about the verse, he admitted, ""As far as I know it is not a very ancient saying, I just said it was.""" In OKLAHOMA!, the Dream Ballet was choreographed by Agnes de Mille. The Ballet begins when Laurey falls into a reverie.

Did you know that Hammerstein's lyrics for the first draft of the song "Out of My Dreams"" ended with the stage direction that a wispy figure of a bride would glide in from the shadows? Hammerstein then wrote: ""Take it, Agnes!""" Did you know that Hammerstein wrote "Hello, Young Lovers"" for THE KING AND I in just forty-eight hours, after a month of fruitless attempts? He also had definite ideas about the song's performance. In 1953 he suggested to Constance Carpenter, then playing Anna, that ""instead of imagining the young lovers being down at about where the horn section is...I think the lovers ought to be somewhere on the first balcony. They are all the young lovers in the world.""" Did you know? According to Richard Rodgers in his autobiography "Musical Stages,"" ?Oscar was so moved by [?Surrey With A Fringe On Top?] that just listening to it made him cry.

He once explained that he never cried at sadness in the theatre, only at na�ve happiness, and the idea of two bone-headed young people looking forward to nothing more than a ride in a surrey struck an emotional chord that affected him deeply.?" Did you know? Oscar Hammerstein I, the grandfather of lyricist Oscar Hammerstein II, was a major impresario and theater builder in New York in the late 19th Century. Though many of his theaters are no longer standing, Hammerstein?s legacy can still be found in today?s New York. The HAMMERSTEIN BALLROOM, a popular rock venue, is housed in what was formerly his Manhattan Opera House; the The New Victory Theater on West 42nd Street, specializing in theater for young audiences, was originally his Victory; and his namesake theater built by his son Arthur Hammerstein is today the Ed Sullivan Theater and home to the Late Show with David Letterman. Did you know? Even Oscar Hammerstein II struggled with the creative process. In 1946 he told The New York Times, "Writing comes darned hard to me. I do most of it on our farm in Doylestown.

There I have a room with one of those tall old-fashioned desks you used to see in shipping offices. It takes me a long time to get started, and even then the words come slowly. I keep walking up and down the room and when I get what I want I go over to the desk and write in longhand with a soft pencil. I often wonder how many miles an act I walk.""" Did you know? When SOUTH PACIFIC premiered in 1949, World War II was very much engraved in the public memory. Even some of the original Broadway castmembers playing servicemen had fought in the war. When Oscar Hammerstein had trouble writing for military voices, he turned to his oldest son William (who served as a boatswain in the South Pacific) and to director Josh Logan (who spent 4 years in the Army). Did you know? Oscar Hammerstein II came from a family of theater veterans, including father William Hammerstein (manager of the Victoria Theatre) uncle Arthur Hammerstein (Broadway producer) and of course namesake grandfather Oscar Hammerstein I, theater builder and impresario of the Manhattan Opera House. Did you know?

Oscar Hammerstein II once wrote: "Songwriters fall in love with the songs they write and try to put them into shows where they don't belong. I have done it myself?the most recent one I remember, was in ALLEGRO. We liked the song very much?it was not suitable for any of the leading characters.""" Did you know? In CAROUSEL, Billy meets the Starkeeper after his death. The Starkeeper gives Billy an opportunity to return to earth for one day to see his daughter. It was director Rouben Mamoulian who suggested this character for Broadway, replacing Rodgers and Hammerstein?s own idea of a Mr. and Mrs. God that played only in the show's out-of-town tryout. Did you know? When the original production of SOUTH PACIFIC was being staged, Oscar Hammerstein II taught star Mary Martin a clog dance for the number ?Honey Bun,? which her character Nellie performs at the troops? Thanksgiving Follies. In an early draft of CAROUSEL that anticipated the show's Boston opening, Hammerstein wrote the note, "There will probably be an encore.

If not, the author and composer will probably jump in the Charles River.""" Did you know that both Richard Rodgers and Oscar Hammerstein II married women named Dorothy, and both had fathers named William? This last fact lead Rodgers & Hammerstein to name their music publishing company Williamson Music Company when they founded it in 1945. Hammerstein on his lyrics to "A Wonderful Guy"" in SOUTH PACIFIC: ""The emotion expressed in this song is so simple that it can afford to wear the decorations and embroidery of more ingenious rhyming. There is no subtle philosophy involved. A girl is in love and her heart is sailing. She is sentimental and exuberant and triumphant in the discovery. The job of the lyric is to capture her spirit.""" Did you know? Both Rodgers and Hammerstein hailed from alma mater Columbia University in New York City. Hammerstein attended from 1912 - 1917, and Rodgers followed him from 1919 - 1921. Did you know? Hammerstein wrote about the difficulty of finding a suitable love song for the quarrelsome couple Laurey and Curly in OKLAHOMA!

"Since this mood was to dominate their scenes down into the second act, it seemed impossible for us to write a song that said ""I love you,"" and remain consistent with the attitude they had adopted toward each other. After talking this over for a long time, Dick [Richard Rodgers] and I hit upon the idea of having the lovers warn each other against any show of tenderness...of course, while they say all those things, they are obliquely confessing their mutual affection."" This became ""People Will Say We're In Love""" Did you know? In February 1945, one of CAROUSEL's financiers informed Hammerstein that contrary to a line in "June is Bustin' Out All Over,"" sheep actually mated in the fall - not in June. Hammerstein wrote back that he was ""thrown into consternation by the unwelcome news about the eccentrically frigid behavior of ewes in June."" Yet he chose to keep the stanza about sheep in the song." Did you know? Writing OKLAHOMA! Rodgers & Hammerstein struggled to find the right way to portray menacing farmhand Jud Fry.

"The question was how to make him acceptable,"" wrote Hammerstein, ""Not too much a deep-dyed villain?We didn't want to resort to the boring device of having two other characters discuss him and give the audience a psychological analysis. Even if this were dramatically desirable, there are no characters in this story who are bright enough or well-educated enough to do this. So we solved the problem with two songs, 'Pore Jud' and 'Lonely Room'...Jud becomes then, for a while, not just wicked...""" Did you know? If all performances of Oscar Hammerstein II's stage works to date were brought together into an unbroken run, on the basis of eight performances per week, this run would last over 39 years. In 1952, LIFE magazine published Rodgers & Hammerstein's only Christmas song, "Happy Christmas Little Friend,"" commissioned as a gift for its readers." In 1927, SHOW BOAT came to Broadway at the Ziegfeld Theater, staged by Oscar Hammerstein II. The show ran for 572 performances. Did you know?

In 1931, the year that Oscar Hammerstein II's daughter Alice began to write poems, he gave her an Oxford Book of Verse for Christmas. With it came a letter: "Let me give you a little tip about reading poetry,"" wrote father to daughter. ""It can be awfully dull - if you read it fast. Read it slowly, and when the meaning of a line is obscured, read it over, and try and find out what the poet had in mind...understand them as deeply as you can.""" In 1905, the world premiere of Ferenc Molnar's play LILIOM is presented at the Vigsz�nh�z Theatre, Budapest. It is produced in New York several times with several different translations (one allegedly written by Lorenz Hart) before Rodgers & Hammerstein adapted the Benjamin Glazer text as their basis for CAROUSEL. In 1943, CARMEN JONES opened at the Broadway Theatre, where it ran for 503 performances. In 1946, the first performance of OKLAHOMA! in the state of Oklahoma was presented at the Municipal Auditorium in Oklahoma City. Governor Robert S.

Kerr presided over several days of statewide celebrations, joined by Rodgers, Hammerstein, their wives, and members of the musical's creative team. Rodgers & Hammerstein were made honorary members of the Kiowa Indian tribe. In 1926, writer Edna Ferber signed a contract giving Oscar Hammerstein II and Jerome Kern "dramatico-musical rights"" to her novel SHOW BOAT." In 1932, MUSIC IN THE AIR opened at the Alvin Theatre on Broadway. It ran for 342 performances. In 1946, Anita Loos' comedy HAPPY BIRTHDAY, presented by Rodgers & Hammerstein and starring Helen Hayes, opened at the Broadhurst Theatre, New York, and ran for 564 performances.

In the play Helen Hayes sings "I Haven't Got a Worry in the World,"" written especially for her by the producers." In 1947, TIME magazine profiled Oscar Hammerstein II with a cover story entitled "The Careful Dreamer""" In 1959, Oscar Hammerstein II began work on "Edelweiss,"" his 1,589th and last lyric, written for THE SOUND OF MUSIC. It is completed on October 21st and went into the show during its pre-Broadway tryout in Boston." Did you know? Oscar Hammerstein II wrote his first professional song at the age of 22: "Make Yourself at Home"" with music by Silvio Hein. It debuted in the show FURS AND FRILLS, which opening on Broadway on this day, October 9, 1917." In 1994, the Hal Prince-directed revival of SHOW BOAT premiered at the Gershwin Theatre on Broadway. The revival ran for 947 performances, making it the most successful production of the show to date. In 1995 the show won five Tony Awards, including Best Direction and Best Revival of a Musical.

In 1933, MUSIC IN THE AIR closed after 342 performances on Broadway. In 1960, at the request of New York City Mayor Wagner, the lights in the Broadway theatre district were blacked out at 9:00 pm in memory of Oscar Hammerstein II. In 1960 Oscar Hammerstein II passed away at his farm in Doylestown, Pennsylvania. He was 65. Oscar Hammerstein II married Myra Finn; they divorced in 1929. In 1955 Eddie Fisher, Shirley Jones, Ed Sullivan, Richard Rodgers, Oscar Hammerstein II, and the governors of New York and Oklahoma led an "Oklahoma Song-Fest"" at the Central Park Mall in New York before a crowd of 15,000." In 1948 the New York Philharmonic Symphony Orchestra presented its first "Rodgers & Hammerstein Night"" at Lewisohn Stadium in New York.

A crowd of 20,000 attended and the R&H concerts became annual season finales at the stadium for more than a decade, with Richard Rodgers serving frequently as a guest conductor." In 1944 Williamson Music published "Dear Friend,"" a song by Rodgers & Hammerstein. All proceeds went to the 5th War Loan Drive." In 1953 MGM released the movie MAIN STREET TO BROADWAY, featuring a host of Broadway celebrities in cameo appearances.

In one sequence, Richard Rodgers, Oscar Hammerstein II, Joshua Logan, and Mary Martin play themselves "in rehearsal"" for a new musical, during which Martin sings ""There's Music in You,"" written by Rodgers & Hammerstein especially for the film." In 1942, in the first public announcement of a Rodgers & Hammerstein collaboration, The New York Times reported: "The Theatre Guild announced yesterday that Richard Rodgers, Lorenz Hart and Oscar Hammerstein II will soon begin work on a musical version of Lynn Rigg's folk-play GREEN GROW THE LILACS."" Lorenzo Hart later dropped out of the project, but this show would become Rodgers and Hammerstein's first hit, OKLAHOMA!" In 1895 Oscar Greeley Clendenning Hammerstein was born in New York City.

Oscar Hammerstein II wrote to book collaborator Josh Logan on their work SOUTH PACIFIC, "Last night, the audience behaved like a large group of people who had all met somewhere else and said, 'Let's all go over to the Majestic Theatre and get drunk.' ?In some way, we have combined all man's emotions into that play so that the reactions are somewhat like the combination of a big football game and a bull fight and grand opera and tragedy and comedy...Now I'm drunk!""" In 1944 Williamson Music published "We're on Our Way,"" written by Rodgers & Hammerstein and dedicated to the U.S. Army Infantry." In June, 1951, Oscar Hammerstein II sent a report on the success of THE KING AND I to director John van Druten. "I have never had such enthusiastic reactions for any play with which I have been connected,"" Hammerstein wrote. ""Friends, and people I have never seen before, or heard of, come up to me and drool.""" In 1954, a Broadway revival of CAROUSEL opened at City Center, directed by Oscar Hammerstein II's son, William Hammerstein. In 1955 Edward R.

Murrow interviewed Oscar Hammerstein II at his townhouse in New York City on "Person to Person,"" live on CBS-TV." In 1929 the original production of SHOW BOAT closed at the Ziegfeld Theater after 572 performances. In 1947 OKLAHOMA! opened at the Theatre Royal in London. The theater would be continuously occupied by one Rodgers & Hammerstein musical after another for the next nine years. In 1915 Oscar Hammerstein II appeared as a performer in the Columbia Varsity show ON YOUR WAY. Although guided by his father into a law degree at Columbia University, Oscar Hammerstein II had been bitten by the family's theatrical bug. In 1957 Rodgers & Hammerstein's only musical for television, CINDERELLA, was broadcast live on CBS-TV before an estimated audience of 107 million. Julie Andrews starred in the role of Cinderella. Oscar Hammerstein II wrote his first amateur score for the show HOME, JAMES, with music by Robert Lippmann and lyrics by Herman Axelrod. It played at the Astor Hotel Grand Ballroom on this day in 1917.

In 1929, Oscar Hammerstein II married Dorothy Blanchard Jacobson. In 1943, the world premiere of Rodgers & Hammerstein's first musical AWAY WE GO! was presented at the Shubert Theatre, New Haven. Moving on to Boston, it acquired a new show-stopping number. This becomes the title song when the production opened on Broadway as the classic OKLAHOMA! In 1919 UP STAGE AND DOWN featured the first songs written together by 17-year-old composer Richard C. Rodgers and 24-year-old lyricist Oscar Hammerstein II: "Weaknesses"", ""Can It"", and ""There's Always Room for One More"". The show was an amateur musical comedy written to benefit the Infants Relief Society, and it played for one night in the Waldorf-Astoria Hotel's Grand Ballroom." In 1942, Oscar Hammerstein II and Jerome Kern won the Oscar for Best Song at the 14th Annual Academy Awards.

They received this prize for "The Last Time I Saw Paris,"" featured in the film LADY BE GOOD." In 1945, USO Camp Shows under the direction of Reginald and Ted Hammerstein (respectively brother and cousin to lyricist Oscar) launched a nine-month tour of OKLAHOMA! for members of the U.S. Armed Forces stationed in the Pacific theater. In 1945, CARMEN JONES closed on Broadway, after a run of 503 performances. In 1954, Richard Rodgers received an honorary Doctorate in Music, and Oscar Hammerstein II, in Letters, from their alma mater Columbia University. In 1920 ALWAYS YOU, Hammerstein's first professional show as sole lyricist and librettist, opened on Broadway. The show ran for 66 performances at the Central Theatre at 1567 Broadway. Can you name the composer of ALWAYS YOU? A: ALWAYS YOU was composed by Herbert Stothart.

Stage 1950s I: When Broadway Ruled (The images below are thumbnails  click on them to see larger versions.) Mary Martin and Ethel Merman sing to a television audience of sixty million viewers in 1953. On June 15, 1953, the Ford Motor Company commemorated its fiftieth anniversary with an all-star television revue. The highlight was a joint performance by Ethel Merman and Mary Martin , staged by Jerome Robbins and transmitted live from Broadway's massive Center Theatre. The ladies sang trademark solos before sharing some duet medleys. The joint CBS/NBC broadcast attracted over sixty million viewers, and a live Decca recording of the Merman-Martin act sold over 100,000 copies in two days. In the 1950s, Broadway musicals were a major part of American popular culture. Every season saw new stage musicals send songs to the top of the charts. Public demand, a booming economy and abundant creative talent kept Broadway hopping. To this day, the shows of the 1950s form the core of the musical theatre repertory.

The best of these musicals integrated every element, offering recognizable characters singing in stories told with wit and genuine heart  in short, they applied the Rodgers & Hammerstein formula. Working the R&H Formula Even mediocre musicals that applied Rodgers & Hammerstein's formula could make a profit. Happy Hunting (1956 - 408 performances) had a score by a Brooklyn dentist, but who cared so long as Ethel Merman was on hand to sing it? The plot was ripped (in the clumsiest way) from the headlines. A low-born Philadelphia socialite who is not invited to Grace Kelly's royal wedding in Monaco avenges herself by getting her daughter engaged to an impoverished grand duke. With inescapable musical comedy logic, mama and the nobleman soon fall for each other, while the daughter falls for a young lawyer. The catchy songs "Mutual Admiration Society" and "Gee, But It's Good to Be Here" helped, but Happy Hunting was all about Merman. Co-star Fernando Lamas generated some unwelcome publicity by having a public feud with Merman. He habitually upstaged her and on one occasion openly wiped his mouth after sharing an onstage kiss.

Along with damning press coverage, Lamas earned an official sanction from Actor's Equity. Happy Hunting had no tour or film version, but its one year run made a profit. The original cast Playbill for Kismet (1953). The bearded genie-like figure represents Alfred Drake. One unusual variation on the post-Oklahoma format did well. George Forrest and Robert Wright , who had reset the melodies of Edvard Grieg for Song of Norway, now adapted themes by Alexander Borodin to create Kismet (1953 - 583 performances). This Arabian Nights-style tale (based on a popular melodrama by Edward Knoblock) talked like a musical comedy, dressed like a sexy burlesque skit and sang like an old-style operetta. New York's snootier critics were set to destroy this unusual hybrid, but a newspaper strike kept them out of print for a few crucial weeks. Audiences loved the lavish harem scenes and romantic melodies, and by the time the strike ended and the scathing reviews came, it was too late  word of mouth had made the show a major hit.

Alfred Drake gave a bravura performance as Hajj, a beggar-poet who becomes Wazir of Baghdad and makes his daughter Queen of Arabia by manipulating the twists of fate, his "kismet." As the Wazir's voluptuous concubine Lalume, Joan Diener 's soprano pyrotechnics and knockout figure won raves, as did Doretta Morrow as Hajj's daughter Marsinah and Richard Kiley as her beloved Caliph. "Stranger in Paradise," (based on the Polovetsian Dance No. 2 from Borodin's Prince Igor) became a pop hit, and Kismet picked up six Tonys, including Best Musical. Rodgers & Hammerstein: Supermen Gertrude Lawrence as seen on the original Playbill for The King and I. Richard Rodgers and Oscar Hammerstein II remained the musical theater's most potent creative team. At one point, they had four musicals running simultaneously on Broadway -- an unprecedented accomplishment. With the 1950s film versions of Oklahoma, Carousel and South Pacific grossing millions of dollars worldwide, the two songwriters were international celebrities, so it is not surprising that the media treated each new R&H stage production as a major event.

The King and I (1951 - 1,246 performances) was based on Anna Leonowens real life experiences tutoring the royal family of Siam in the 1860s. The clash of Eastern and Western cultures sets Anna and the King on a collision course, further complicated by their unspoken feelings for each other. Gertrude Lawrence , who had suggested the project, played the Welsh schoolteacher. At Mary Martin's urging, the little-known Yul Brynner was cast as the King. The score included "Whistle a Happy Tune," "Hello Young Lovers," "I Have Dreamed," and "Something Wonderful." In the show's most memorable moment, "Shall We Dance," depicted an impromptu dance lesson between Anna and the King that exploded with romantic tension. The musical theater lost one of its most luminous stars when Lawrence succumbed to cancer during the run. Brynner made a career of playing the King, appearing in the acclaimed 1956 film version and numerous revivals until his death in 1985.

Me and Juliet (1953 - 358 performances) was a backstage love story featuring the sultry tango "No Other Love Have I." Only a modest success by R&H standards, it had a fine score and innovative sets (by the legendary stage designer Jo Mielziner) that allowed a swift flow of action between on and offstage scenes. Pipe Dream (1955 - 246 performances) offered a sanitized adaptation of Steinbeck's Sweet Thursday starring Metropolitan Opera diva Helen Traubel. Critics and audiences were disappointed, making this Rodgers & Hammerstein's only financial failure. But it was such an important cultural event that the characters on the top rated TV sitcom I Love Lucy schemed to get Pipe Dream tickets. Flower Drum Song (1958 - 600 performances) did better, taking a genial look at East meeting West in San Francisco's Chinatown.

With direction by Gene Kelly , its score included "I Enjoy Being a Girl" and "Love Look Away." The Sound of Music (1959 - 1,443 performances) was inspired by the story of Austria's Trapp Family Singers and their escape from the Nazis in the 1930s. The score included "Do Re Mi," "Edelweiss," "My Favorite Things," and the title tune. With Mary Martin heading the cast, The Sound of Music won the Tony for Best Musical (in a rare tie vote with Fiorello). Critics who dismiss this show's sweet story have missed the real point. Amid all the sentiment, The Sound of Music offers an entertaining but devastating condemnation of those who empower evil by refusing to oppose it. The real bad guys are not the Nazis, but the so-called "decent" people who acquiesce to them. A superb and literate musical, The Sound of Music remains a beloved cultural landmark. Mary Martin leads the children in "Do Re Mi" on the cover of the original cast Playbill for The Sound of Music (1959).

Oscar Hammerstein II died due to stomach cancer a few months after The Sound of Music opened, ending a career that spanned the golden age of musical theatre and film. After working with the innovative Jerome Kern and operetta master Sigmund Romberg , he did his finest work with Rodgers, and later coached young Stephen Sondheim . More than any other individual, Hammerstein had turned the once-innocuous Broadway musical into a potent dramatic form, and had turned lyrics into essential dramatic tools. He did it by being a superb storyteller and a dedicated craftsman. Even when dealing with serious issues, he always kept his focus on intriguing characters caught in remarkable situations. "If the 1950s was the decade that promised a continuation of the musical's crucial place in the culture, it was at least partly because the Rodgers and Hammerstein revolution of the 1940s urged the musical to seek beyond typical fare for stories based on realistic character development: to become drama.

Thus, the 1940s introduced the notion and the 1950s exploited it." - Ethan Mordden, Coming Up Roses: The Broadway Musical in the 1950s (New York: Oxford University Press, 1998), pp. 26-27. More than three decades after his death, during the 1995-96 season, four Hammerstein musicals appeared on Broadway, and his work remains popular in the 21st Century. So long as people "know how it feels to have wings on their heels" or believe their "heart will be blest by the sound of music," Hammerstein's lyrics will be part of civilization's common language. Who else was composing great shows during this amazing decade?

The King and I [Original Movie Soundtrack Recording] - Original Soundtrack | Songs, Reviews, Credits | AllMusic The King and I [Original Movie Soundtrack Recording] AllMusic Rating google+ AllMusic Review by William Ruhlmann The 1956 film soundtrack album for director Walter Lang 's adaptation of The King and I is distinguished from the Broadway cast album chiefly by the expanded orchestrations, played by the large studio orchestra conducted by Alfred Newman , and by the presence of Marni Nixon in the role of Anna Leonowens. On film, the part was played by Deborah Kerr (whose spoken parts are retained on the soundtrack), but Nixon , one of the best invisible voices in Hollywood (she also ghosted Audrey Hepburn in My Fair Lady) is the wonderful singer of songs like "I Whistle a Happy Tune" and "Getting to Know You," sung onstage by Gertrude Lawrence , who died before the film was made.

Yul Brynner repeats his performance as the king, and Leona Gordon (dubbing Rita Moreno ) gets to play Tuptim and sing "We Kiss in a Shadow." This is a Hollywood adaptation done right -- bigger and more dramatic than Broadway can be, with a show that benefits from the frills -- and makes you wonder why they didn't always do as well. The film, the third Rodgers and Hammerstein musical to come to the big screen within eight months in 1955-1956, was a massive hit, and the soundtrack album topped the charts and remained in them for more than five years. It also remained in print continuously, with a CD upgrade in 1993, followed by a more extensive upgrade in 2001 that added nearly half an hour of previously unreleased material, much of it instrumental passages, though the nearly 13-minute "The Small House of Uncle Thomas" was put on disc for the first time and there was more of Brynner, who by this time had begun to dominate a work originally written as a star vehicle for Lawrence but still didn't have much music written for his part. Track Listing

Question: The song, "I Whistle A Happy Tune", comes from which stage and film musical?
Answer: THE KING AND I