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Rodgers & Hammerstein's

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Music by RICKARD RODGERS

Book and Lyrics by , OSCAR HAMl\1ERSTEIN II

Based on "Anna and the King of Siam" by Margaret Landon

229 West zs" Street- II th Floor" New York, NY 10001 Tel 800/400.8 J 60 or 2121564.4000 • Fax 2121268.1245 www.TnbtJ.:JeatricaJs.colD

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must be obtained from The Rodgers & Hannnesstein Organization.

C 1978 by Richard Rodgers and Dorothy Hammerstein, WillillllJSOll Hammerstem and Phillip Zimet as Executors of the Estm.e of-Oscar Harnmerstein TI. MOlena I "'lUtained herem, m a differmt form, Copyright 10 1951 by Riehard Rodgers and Oscar Hammerru:in 11, and said copyright has beeo renewed. WillilLrWOIl Music owner ofpublicatioo and aUied rights throughout the .... orld. lmemational Copyrigbt Secured, ALL RlGFITS RESERVED.

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RODGERS AND HAMMERSTEIN'S Tt-IE KING AND I

First Performaru:e in the USA. at the St. James Theatre, New York, Jfarch 29th, 1951 .

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First Performance in England at tho Theatre Royal, DI'1,"Y Lane, L01'J.don,

October 8th, 1953

CHARACTERS (in order of appearance)

CAPTAIN ORTON LOUIS LEONOW£NS ANNA LEONOWENS THE INTERPRETER THE KRALAHOME THE KING

PHRA ALACK

LUN TH.J\.

TUPTIM

LAD.Y THIANG

PRINCE CHULULONGKORN SIR ' EDWARD RA..:M.SAY Plin4cE YING YAOWL.A..K

NINE PRINCES AND EIGHT PRINCESSES EIGHTEEN ROYAL DANGERS

TEN PRIESTS OF SlAM

.-..::mN-RQ¥ AL WrvES FOUR AMAZONS

The Play is divided into two acts,

The acti on nasses in and around thKinifs' Pala~e, - Bangkok, Si:nn.

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THE KING AND I ACT I

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Tabs No, 1 (Interior) set Q.P Tabs No.2 (Exterior) set 0 P.

Verbal Cue start Cli' OvertllR, HUllS li;.(hts B 0

SCENE I

SCF.)lE.: Duk o] the Chow Pbya, a ship 1/'0.1 has SQU~d from Singapo1'~, up flu ~/t.l! 0/ Starn. and. i.1 ':"W.lJ nm/ling #s way slowly olong fhe ,,:indin,g 1'i1.·I'1' that npprotUhcs Bangkok

AT RISE: CAPTAIN ORTO". a ",iddlc-afJ~d Englisltmall, 15 "' .. I:mng on the birmacle, [acing front, smoking a. pipr. 0,., ttie deck lIpstQ:~ of thr lrcnnncle a._rf' srurral bO-TrS and rrates oj {uraT/.IIN

111w;ic No, (Opening, Act I)

House tabs rise on music ClI!'.

Cue I. Switchboard as house tabs rj <;(" ,

As 50011 as the curtain has riSl<n. LQUIS enters [rom R, crossing to C!Ltl!fW(I_l' ste-p«, L

(RTO,,', Hello, Laddy.

lOUIS [Mounting gangway steps). How near are we to Bangkok, Captain? ,JRTON. See that cluster of lights jutting out into the river? That's

1. That's Bangkok.

'.oors [Turns to Captain]. Oh, look! All Our boxes! . :RTON. Aye, and a fair lot they are.

I oms. We packed everything we had in our Singapore houseiu.rfiiture and everythin g.

,\N~A [Off R.2j. Lours! wnere are you? LOl:IS. Here I am mother.

~IRS. h:':KA (;11trl'_' jroJU :2 E.R, arops dot: ·,(,Iuge k t hr» crosses 10 LOUIS 07110 ste]» I ••

. >'X!\A. Oh! There you are.

LOliIS. Mother, look! There's Bangkok! Do you see that cluster of li~bts that stick out into the river. That's Bangkok.

ANNA. I see, Louis, I see them. It's exciting, isn't it?

LOUiS [Ttt1'ns. drops down off steps]. Will tile King of Siam come dc wrr to the dock 1:0 meet us?

.... ";'lA. The King himself? r don't think so. Kings don't as a rule. ClRTO)1 [With earnest cOI1ce,-n). I wonder if you know what you're facing, Ma'am-an Englishwoman here in the East.

M;RS • .'\N2>:." rasrs to c.

LOUIS [RUI'Il"li11g n. N poill'/S owr J,}I/(/'!{iUfll'." rnil] Look, IDot:her! Look at that boat!

A N~A avui ORTON took 0111 Over lh e (l.l£d·ience, !ollllwi'''g I.OUIS· ryes. Two natit:» deckha.nd.-- ~71.tt:T from ~. E, n , carrying tru-ni: iuhic" thr,' srt: R.C. tltr n rx-it 1 E. R.

Look at: the d.ra g ons head in the bow, and all the rnen standing up, carrying torches.

ORTO~ [Drops d ouin to R. of A:'iX,\ ,. That's the Royal barge.

t.ours. Do you suppose that's tile King, the man sitting under the gold canopy?

ORTON [E:rplaillilLg to AX.'iAj. That's the Kralaborrie [A.NNA mOi.'I':S in doser]. Sort of "Prime Minister"-the King's right hand man, you

.rni!1b_t:~Y~ ---,_ - -- - .. ---- -----.---------- .--- --

s: ;>IN .... Do you suppose he's corntng out to meet us?

ORTO);- No doubt of it. They'll wait until we pass them. Then they'.ll come around our stern. [TuniS lO lin'] Ma 'am ... if I might be

aUowed 'to offer you a word of warning. __

, •• "'?-;A. What is it, Captain?

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THE KING AND I

ACT 1

ORTON. [Indicatint the barge]. That man has power, and he Can use it

~11-o.~nsLY.Q ------

~ ~~NA [First fear]. Oh, Captain I don't ...

;- ORTON [I'I1lerrupti·ngJ. Pm just telling you, Ma'am. 1 think you

should know. .

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Music No.2

• Offstage chant commences, sound comes [rom the. rivers

,.~ a s1:a1'lingKsOtJ,~f. iC'. rbythm, like oarsmen, keeping

cadence. fiji oJ • ."

• ANNA. Thank yon, Captain.

CAPT UN ORTON exits R.2.

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LOUlS. Look, mother! They're closer! [With amazement he gets a. better view.] Mother! The Prime Minister is naked!

ANNA [Crossing down. to R. of LOurS]. Hush, Louis. That's not a nice word. He's not naked. [She looks again.] Well, he's half naked.

LOUIS [Front]. They all Jook rather horrtbte, don't they, mother? [Draws a little closer to her. takes her hand.) Father woutd not have liked us

to be afraid, would he? I

ANNA [Looks at him]. No, Louis. Faiber- would not have liked us te be afraid .

1'Loms [Back one stepl Mother, does anything ever frighten you?

ANNA. Sornetarrres.

Music

LOUIS. What do yon do? ANNA [Confession]. I whistle.

r.oms [Steps back]. Oh, that's wby you whistle.

ANNA [Laughing, drops hands]. Yes, that's why I whistle.

"1 WHISTLE A HAPPy TUNE"

"Whenever I feel afraid

I hold my head erect And whistle a happy tune So no one will suspect I'm afraid.

Whlle shivering in xny shoes

I strike a careless pose [Strikes pose.] And whistle a happy tune,

And no one ever knows I'm afraid.

LOUIS buds upstage., siuing on L. oj trunl«, ANN.A follows him up.

The result of this deception Is very strange to tell

For when I fool the people I fear

I fool myself as well! .

AKNA sits 011 trunk R. of LOUIS.

I whistle a happy tune And ev'ry single thne The happiness in the tune Con.vJnces me tb:&t I'm. Not afraid.

~aJ[e elleveyou're I:fr8've

And the trick will take you far. You may be 913 brave

As yon r:nake believe yon are.

LOOIS and ANN.A whistle a strain,

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SCENE I

THE KING AND I

--¥o-u-m.ay--be as-9Fa-v.e~----- -_. - .. -

ANNA embraces r.otrrs to finish.

LOUIS [Aft.-r a mome"l). I thinkLbat's a very good idea, mother. A very good idea.

ANNA. It is a good idea, isn't -it?

LOutS. You know [Rises, crosses to c.] I don't tb..in.k I sball ever be afraid again.

Warn Cue"lA.

ANNA- Good.

LOurS [Nods.] [Stands centre and sings).

While shivering in my sboes, I strike 8 careless pose

He does an exaggerated imitation of ANNA.

JUld whistle B. bappy tune, And no one ever knows, I'm. afraid

ANNA has crossed to behind r.oms and is upstfIfJe of him, they both cross to D.L.

The result of this deception Is very strange to tell,

They stop and face each 0011:1'.

For when I fool the people I fear r fool myself as wefl,

Tn~ turn crossing to D.iL. Luu~J"'7.':i:, ~:i';l.:~ D.~_ w:!h her hand ~ his shoulder.

I whistle a happy tune And ev'ry single time The happiness in the t:une

Cue lA as SLAVES enter.

Four SIAM~SE SLAVES, naked from the waist up, with long swords hanging [rorn their bells, come over th~ rail, line. up centre. wilh arms follied stand facing R. in diagana/line.

Convinces me that I'm. not afraid.

ANNA and LOUIS hands behind bad.

Make believe you're brave And the trick will take you far You may be as brave

As yon make believe you are--

They turn a.5 if to cross R. See the slaves, wilh a ,asp of surprise and horror. They turn back front, ANNA grabs LOUIS' hand and- whi&tles to the end of the tUntl-.

ORTON [Enteri·ng hurriedly from R.2 followed by two DECK HANDS). Clear that away,

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The DECK HANDS clear trunk off to a.L ORTON drops dawn to L. of ANNA.

Ma'm,-I woUldn't whistle. Thi·Kriiiahome-riiIg_hftliliilt it disrespectful. --_._ - ---

ANNA. Ob, was I whistling! Sorry, I didn't realise.

The INTERPRETER comes down ouer the rail of the. ship, takes up position kne.eling centre facing R. Once the I nierprder is on, the ltRALABOME majtlitically follows flin! down the step:; L.

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THE KING AND I

ACT I

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INTl;:RPRETER rRathel' insolently] Siam .

Good evening, Sir. Welcome to

H l' turns his back on },1:1' a:tld prostrates himself, toadlike, facing R- T'he SLAVES, lao, d1'OP on thdr ha.ntis and lmrrs and with foreheads touch-i.ng th« fiOO1' IIr~lI turn

tmuards tlu. KR .... LAlIOME L -

LOUIS. He called you sir! .,,;':1'<A. Hush, dear! Hush!

J}usic No.3

(h-lcidellto/ for Duilogue)

The KR.Al.AHOMl!; is on by this t im« am! crosses /0 D. L.C. looking ANNA over as h~ enters, he {IIY)]S upstagr. He is naked [ron: the waist liP. eXCl'pt for a lo?1.C gold necklace, arml is and earrings. A s he turns upstagr lu: addresses (he INTEltPRE"!ER i1'l MUS1CAL Siam.ese, lhis is depicted miisicalty b')l tAl' orchestra which arcom-panies the Iw'71." 1110lJI't7I1-nfs 0/ Nit, I.:IL\LAHO:l!E •

l..:.'\:TERPRETER [Turns, crawls toUt(J,I'ds A..J. ..... NA (1'11. his hal'l.ds and knees, relaying the KRALAROME'S qw:shonsJ- Sir, the Kralahome wish 1:0 know, are you me lady who will be schoolmistress of r oya I children?

.... !'iNA [Faint~v] Yes.

!NTERPRETER. Have you -friends in Bangkok? ."~NA. 1 know no one in Bangkok at all.

lNTER.PR 'ETER lu~ns, crosuls bru;k /0 (he feel of thr !OULAHOME and. givcs him this ,ncssD;gt! in MUSICAL Siamese tkpictea. by hand gestures, T"~ KRAL"H();\[E replies.the INTERFREIER t arns and crouils !Jack 10 ANXA.

-HnEJ{PRETER. Sir, the Kralahom.e wish to know, are you rnar-r+ed ? ."'XNA. I am a widow .

lNTERPRETER. 'What znanner of man-s-your deceased busband?

ANNA. My husband was an officer in Her Majesty's ar-rrry m-[She suddenly stiffens.) Tell your master pis bustness with rne is In zrry capacity of schoolteacher to the Royal children. He has no right to pry into my personal affairs.

ORTON. I don't think I would Ma'am ...

Dt~"ing this. INTERPRETER cruuils back 10 'he KRALAHOME .

. \:")iA. Well, he hasn't, Captain Orton.

The INTERPRETER gives his nics sag« in hi !'SJCAL Siamese and receives a kick on: the shoulde» which sends him sprawling 11 psla7c L. 011 li~r. with 5/(17'/.'$.

LOUlS (Seeing ki.ckJ. I don't like that rmanl __

KRAL.l..HOME [Slowly turns to ANNA]. In foreign countr-y is best you like everyone-c-unttl you leave.

A~mA [Startled]_ Your Excellency, [Eases in to c.] r had no idea you spoke English.

C-,PTAIN ORTON dr."J-ps D.R. as A~NA NIS(,5 in.

J';:R.U.A1:IOM£. It is not necessary for you to know everything at once.

You come with me now. Your boxes are carried to Palace-later . ... NNA. No. Not to the Palace. I am not Uving at the Palace,

- h~AL.AJ'fOfoI{E: .llOsay?-- ~- -- .----- -.- --- '--'.' ---

.-I..NNA. The King say. Says. The King has promised me. twen-ry pounds a month and a house of my own.

KRALA.HOME. King do Dot always remember what he promise. If I tell him he break this promise, I will m..ake anger in him. I think it is better I make ~nger iii biTIl about larger matters .

.... NNA. But aU I want is ten minutes audience with him.

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IiRA-LAHOM};:. King very busy now. New Year celebrations just ii.rushing, Fireworks every night.

t.otrts crosses in, IlIgs {If ANNA'S slreur .

Cremation of late Queen just starting .

... xx. ... (Eases in a little). On. You have lost your Queen. 1 am so sorry. When did she dJe?

KR..-.LAROME, Four years ago. With cremation cer-emony comes

also fireworks.

}\N~A. And what am. I to do in the meantime? KRALAROME. In the meantime-you walt-in Palace,

.-l..."""..... Your Excellency, r will tead, In the Palace, but I must have a house of my own-where I can go at the end of the day when my duties are over.

X lLU-ABOME. What you wish to do in evening that cannot be done in P-alaee ?

_ ... NXA. How dare you-! [Controlling herself.] I'm sorry your Ex.cellency, but you don't understand. I came here to work I m.ust support myself and :my young SOD [Puts arm round LOUIS.] and 1 shall take nothing less than what I bave been promised.

"llALAROME. You will tell King this? .\NNA. ] wllJ tell King this.

KR_\LAHOME. It will be very interesting meeting.

React,:o-n [rom .... N;,; ... and l{~AL ... HOM£. " II Inll "

You come now.

ANNA doesn 't n'1lS;I;W'.

Yoo come now, or you can stay on boat. I do not care!

The KltALAliO::llF. waifs iust fwo beats, then siotulv and deliberately lJe 111ms and starts ~o go off, liP !Sleps:

Warn Ko. I Tab.

Cues 2. 3, " and working light.

ORTON [Moves in to A.NNA]. Ma'am, if you wish to stay on my ship and return 19 Singapore ...

.'\!\"~A. No. Thank you Captain Orton. Your Excellency-

The KRAL"'HO~.lE slops. turns an.d UMSI"S bflCk to D.L.C.

I will go with YOIL I have made a bargain, and I shall live up to Illy part of jt. But I expect a barg.ain to be kept on both sides. I shall go with you, Your Excellency.

KRALAlIOME. To the Palace?

.... Nff ... [Grimly]. For the time being.

]11usic No.4·

(Exit: I whistle. a hapPYlune)

The KRALl.HO::lJE turns. clops his hands. 'he: SLA\·ES spring to their [eet and stamtl jacing off /0 R. arms folded. As KRAL.UiO,,"IE c;r£l. L_ ANNA '''Tns to ORTOX

you very rnucn"fOf

. -Guotlbye;-CaptlliIf Orron, [Slili1ics- na.Ha·ST ana lli eve.rytbing. Louis-

LOUIS [Shaking hands]. Goodbye, Captain.

ANNA and LOt.:IS link arms and 111m to IUl~·~. sire stiffen!S in alarm. iJtNI brgins to walk off whislling •. The Happiness in tkr T1I11e" touiards str ps L. LoUIS rtrns o·n a/',md oj her "p steps.

i.ovrs, Look, rnother-e-l

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THE KING AND I

Acr I

--.- --- - - ANNA .looks back OVllr he}' shoulder at SLAVES who arc

standing Jtu;ing off R. as the tab closes O.P. to P.S.

Cue 2 and Close No 1 tab R. to L. as LOUIS and ANNA walk off to L. Cue 3. When No.1 tab is closed.

Werking light on.

fNTERMEDlA TE SCENE

Between Scenes 1 and 2

Music No.5. (Vignettes and Dance)

[CHAl.;rGE OF SCENE]

SCENE: (" Scurry. ")

In front of the. No.1 (" Inte.rior") Tab -,

This scene shows cxcitem~nt and confusion pr~ccding a dance for thc King. Seueral girls arc bei,~g made up, thei-r faces painted, and their costumes arrILnged by four palace ATTENDANTS. A Bhte Slave (No.1) summons them to dance for the King and the da'l1CCTS exit R. with the Slaue folloun ng, --rhe a/fmdants exit L.

Wo:rk:ing ligbt out.

Cue 4- and open No.1 Tab to L. as music changes and Blue Slave exits R. Cue 4-.A. When No. 1 Tab is three-quarters -open.

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ACT J-SCENE .2

SCENE: The King'.< Library in the HOJ·al Palun'~

_-\-r RISE' lONG IS seaiet! tross-leggrtt 011 d ats L c. ,,'odmg IhroHgh liOllU letters H 1£ secretorv , J'II It~ ALACK, ~S seated 0'1'1 ,Itt' floor ,R 0/ rlo is, TII/' R"I"n/ Dancers are pel'Jormlll!! II trnd tt tonat dune" Inl by 'f/i,' p1'1nclpal dancer.

The KING suddenly tJII'O<l'£ flu lrttrrs he !5 ;'oldll1g IlL the genc1'a! direction oj PH itA _-u.ACK. who collects 11,,,,,, «ud '/'Im~ off L ups/agt' IlJ -thc dai : The "I-';G untli " tuauc of lu s hand dislillhrli the dancers u-ho exi; R. Then ptc/~i"g up a book uilu.cl: lias /UUM'l /1l)'l>1g (ttl th c d ais, Ihe K INC CT<JIiSIH 10 crntre and uruh a 1I,at'e of lu~ left k a nd su. .. nHIOI1~ IiiI' K R,\L.\ HOME, who r nters from I E~L. ':1'05OI,71g /0 LL .~., thr KRALAHOMF rntr rs, IIIl' lONG m.aklng (I "/,g/tt rircle turn crossrs n R, fh,." to D.C.

KIXG fA.<; lu: crosses D~R,J- Well? Well, well, well?

r:RAUI.ROME. I have been meaning to speak to you about English schoolteacher. She is waiting to see you.

KlNG (u.c.) [Removmg glasses]. She is in Siam? How long? KRAL\FlO:'.1E Two week, three weeks.

Eases in to KING and AI~G drop« D.C.

Sbe has needed disciplining, Your Majesty. She objects to living in Palace. Talks about house she say you promise her.

Kl2'<G [C1'os.<;i1'~g left]. J do not: recollect such promise.

The KRAl.. ... FlOI>!E waves 10" Ll::--: THA to enter [rom 1 E.R.

Tell her I will see her. [Turns as if to speak to KRALAHOME.] I wiU see her in a moment.

OUeY the KRAL..\HOM E'S shoul drr III~ KING sees LUI' TH.A enter, Crosses "p onto dru s,

Who? Who? Who?

KR.'l.LAHOME. Your Majesty, th.is is Lun Tba, emissary from. court of Burma.

KING. Ah! You are here for copying of famous Bangkok temple.

I have gjve permission.

Tt,;PTlII-1 IS carried in 01l a p alonquir: by tltr _lO1l7 AMAZONS. LUN THA rases npslage R_ TIll' P .... L.\CE ATTENDANT assists Tt:PTD! /.0 /'IU /1'0112 seal (I. tid Iher: eases U.S.'R.

l<RALAJiOME (As TUPTlM Cl1tcJ'sJ. He bring you present from Prince of Burma.

KINe, A.In I to trust a ruler of Burma? Am I to trust this present they send me, or is she a spy?

AM .... ZONS back off R. tak.,.;: f'afrmqllin wi.th them.

TuPTJM. I am not a spy. My name is TuptinI.. You are pleased

that 1 speak ED~lish? [Looks away {1'Om Kl!"G,] My riarrie is Tuptirn..

KING c;rOS5I'S to KR ... L\HIj~II':. looking 0./ TUPTB!, 1I11:.n

- nntis 0- tire .-R.",::r:.KROitIE, wkosign:trl'S TUPTI-:'I1-Uf n,r" around, She does 50. The KING walks a"01l11d below

her mahmg ,'i'fhl circle t1l1'1'I.. .15 JUNG POS;t!; her,

TtlPTIM drops to her knees, KING CO'l .. tinurs cross, giv~.~ J<RJlI.AHOME rLppYOv.ng took, pILls on ln s spect aclcs, opens h-is book and cmssing qm,!?I'Y '.1'11.' :! F..L.

\'Varn Cue :3-

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SCENE II

THE KING AND I

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KRALAHOME [Consciolts of lncmaur, drops down ie,Jell with you. He likes you.

King is pleased

Goes 7J.P steps. signals [or LUN UtA to [ollou: antil indicates thai he should exit U.R. h."RALl.HO~IE exits:

U.L. LUN TI-lA sees /li.m go off Ih~lI mahes (2 smal! geslm'e to TUPTIM before he. ft11ally makes his ext! 'rUPTIM rises qmckly

.'I'h.tsic No.6

( ",lvly Lord anti }'/Jaster")

Crosses D.L.C. on nt usic

TUPTTM.

The King is pleased!

He is pleased with m.e! My Lord and Master

Declares he's pleased with rneWhat does he mean?

What does he know of me,

This lard and mas-ter:?-fL.ooks off left.] When he has looked at me

What has he seen?

Cue 5.

Starts to ease R. to C

Something young Soft and s lirn, Painted cheek, Tap'ring limb, Smiling lips

All for him,

Eyes that shine Just for b.:iIn-

So he thinks ... Just for hiIn!

Though the rrian m.ay be My Lord and M.aster, Though he zn.ay study me As hard as he can,

The sm1le beneath my smile

He'll never see .

He'll never know

I love another m.an He'll never know,

T love another m.an.

Warn Cue 6 .

Cue 6.

rv lien she has finished the song site stands dcfia~!tly looking in the direction. of the KING'S exit. A /fe" th« S011![ applause. we hear three gong buds front fhl' pit TUPTIM crosses up level wilh lhe dais. 'he KING enters from I E.L. preceded bv two Amoums, he 7lI(lII1l/; dais. the two AMAZONS CX1:' LE.L.

TUPTI;\1 [Hands togelhf.r. bowing]. Your Majesty wishes m..e to leave?

KING. I will tell you when I wish you to leave.

The KRALAHOME enters [rom U.L. [ollotued by tuso Amazons who pl'ecedf! the entry oj,"NNA.

TUPTlM retires u. P. c. !rn,I!'f!ls.

KRALAHOME [Takes $'p posit'ion R. of steps]. Madame Leonowens.

ANNA has entered and rnade a curtsey C" I"~ A~IAZONS, ,u'lms.j.DJ.daJUanc !I.p_ pasiiio:n D:V.c .. each. .. s.ide.oj .£i.vOy-wa:y.

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~ ;aNG [As ANNA curtseys]. You are schoolteacher?

,.if.; -... ~~NA. Yes, Your Majesty. When m.ay I start Illy worlr?

.UIl, _ KING. I will tell you when I wish yov to start.

;I~ AN"NA. There is a matter we have to settle first, Your Majesty.

lli~~" XING. You are part of general plan I have for bringing to Sirun

iI~.- ,:b.at is goo~ o?, Western cuJture. Already I have bring printing press ~_.lrere--for pr-irrtrn g ,

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TRE Kr~..rG AND i

-'\CT 1

ANNA. Yes, I know, Your Majesty. KING. How you know?

ANNA. Before I signed our agreement, I found out all I could about Your Majesty's ambitions for Siam..

xrxo. Ha! This is scientific. 'You are pleased with your apar-tments iII Palacei'

TIt~ lUNG looks at th« KRA LA ROM E tl'fn "!l-ill'tlv looks

to iront. " .

ANNA. They ... are quite comfortable, Your Majesty. For the tirne being. But zny young son and I have found it ratber ... confining ... with Amazons guarding the doors and not permitting us to leave our quarters.

xrxc, Strangers cannot be aIJowed to roam around Palace before pr-eserrtrrren t to Klrig. You could look out of windows.

ANNA. Yes, Your Majesty, we have done so. We have seen New Year celebrations, royal cremation cer-emonies. etcetera, etcetera, etcetera ...

KING. Etcetera! What is this "etcetera"?

ANNA. According to me dictionary, it rneans "and the rest"-al1 the things you have been doing while we have been waiting. Tbe fireworks ...

KING. Best fireworks I ever see at funeral. How you like my acrobats?

ANNA. Splendid Your Majesty. Best acrobats I ever see at funeral. KING [Pleased, to KR .. ..L. • ..BOME]. Hal Have rhildren prepare for presen-ration to schoolteacher.

KRAL"-HOM:E claps hands exits up steps to U.R. [ollotued. by both AMAZONS. TUl'TL'\!'S ATTENDANT backs off 2 E.R.

ANNA. How many children have you, Your Majesty? KING. 1 have only sixty-seven altogether.

Look of astonishment from ANNA. lIu. KING explains, I begin very late. But you shall not teach all of them. You shall teach

only children of mothers who are in. favour with King.

LADY THIANG enters /1'01'1'1 3 E.R. comes /0 top of steps c. then descends leuel and to R. of MR.S. ANN s:

Which at present are very few-very few indeed. [Sees LADY THIANG.] Ah! Lady Thiang. Madam.e Leonoweas. This is Lady Thiang, head wife.

ANNA turns to ber, hand extended to shake, LADY TRIANG smiles, bows thes: [aces [ront , takes a dee.p b'rl<ath and sings.

THlA. ... G [Si7lgi'ng],

There is a -happy land, far, far away,

Where saints in glory stand, bright, bright as day.

Turns to MRS. AN!;A, rep~a1s hondshake business, then facing jrO?Jt speaks,

In the beginning God created the-heaven and the--earth. [Turns to AliNA.] Mis-on-ary.

ANNA. A ntissionary taugtrt you English. THIANG. Yes, sir. Mis-son-ary.

KING [Points]. Lady Thiang, you will help Madarrie Leonowens with -herschuuttead::dn--g-;-and she in her turn,-wlH-tea-ch--you--the-better-English:. .-

THIANG -prostrates hersel] at the [ee: of th« KING. much to ANNA'S surpris« amd. horror.

ANNA. Your Majesty ... ?

KING. She is grateful to me for my kfrrdrres s.

ANNA. Oh, I see. Your Majesty, in our agreem.ent, you

KING [Points). You, Tuptim. [She rises.J You already speak: well the Eo~lish. [Explains to ANNA.] She arrive today. She is present to me from Burma prince.

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13

SCENE II

THE KING AND I

ANNA [Horrified]. She ... is a present?

TUPTlM [Eases in to R. of ANNA]. Madam, you have English books I can read?

ANNA. Of course I have ..

TUPTlM. I wish most to read book called "The Small House of Uncle Thomas". Is by Amer-ican Lady, Harriet Beecha Stowa.

KING [Steps forward). A wom.an has written a book?

ANNA. A very wonderful book, Your Majesty. An American book. [.,1 meaning look at LADY THlANG.] All about slavery.

ICING. Ha! President Lingkonk against slavery, no.

ANNA nods.

Me, too. Slavery very bad tPing.

KING claps hands for LADY THIANG to rise crosses D,R, I think you will teach my wives too-those wives who are in Royal

faveur,

Three wrvss (9, 5 and 4) sneak on Jrom 1 E.L. while KING'S back is turned. KING crOHCS L. during next line. A S KING turns and lac-es the direction in which the WTVES have entered, th« WIVES bow. arui exit rapidly the same way. This continues throughout th« next part of the scene wntil the exit of th» KING and subsequent general entrance afthe WIVES. Each lime the. lCrN(I crosses th« stage. Thewrvzs enter O't, tb« opposite side.

ANN." [Crossing to c.]. I shall be rnost happy to teach your wives, even though that was not part of our agreelTIenL [Takes agreement letter [rom. handbag.]

'KL"'G crosses R. during Al-o'"NA'S nex] lint'.

Speaking of our agreement reminds me that there is one little matter, about: my bouse.

KING [Crossing to D.R.. speaking as 3 more wives (6, 10 and 8) sneak on [rorn.

J E.R. Four more wives (2, 1. 3 and 7) sneak on/rom n.a.], Also, I will allow you to help me in my foreign correspondence. [Crosses L-J.

ANNA.. Yes, Your Majesty. [Follows kim.] I don't think you unjierstand. Your Majesty I don't think you understand about my house ...

KING [Swpping D.L.]. House? [Tu,..ns on her.] House? What is this about bouse.

ANNA. I want my house. [The KING starts to back her 10 right.] Tbe house you promised me, Your Majesty.

KlNG. You shall live 10 Palace. You teach in Palace, you sballlive in Palace. U you do not live in Palace, you do not teach, and you go[XING matches letter from ANNA'S outstretched hand, crosses back to D.L.] wherever you please. I do not care. [Turns and faces her.] You understand this?

ANNA. Yes, Your Majesty. [Crosses to c.] But if these are the only terms on which I am allowed to remain ...

KlNG [n.L]. Enough! I have no D10re time to talk. Talk: to other women., my women-my wives.

KING crosses U.C .. MRS. ANNA crosses D.L. KING clap, his hands and exits U,L. followed by TUPTIM. LA1)Y TEIA-NG crosses to R.C. MRS. ANNA then crosses u c to' watch KlNG off. The wrVES enter f1'om R. L. and u.~.: surround A1'I N A and pull her 'I.p onto dais, Two WIVES (2 and 3) take ANNA'S gloves. WIFE 7 takes her handbag.

ANNA. For goodness sake! e~=--trying-to do.to.rne? ..

What is the m.atter? What are they

Three of the WiVES (8, 6 and 9) have formed a semicirde T01t71.d LADY rRIA'NG R.C. kneeling in front of her,

THIANG. They think you wear big skirt like that because you shaped

like that.

ANNA [Lifts skirt]. Well, look, I'm not.

Aw.fIA lilts skirt, revealing hcrpantlettes. One WIFE (9). asks LADY THIA.NG a qltestion in MUSrCAL Siames«

14

THE KING AND I

_'\CT 1

:Husic »». 7

(incidental [or Dialogu.e)

LADY THl.".NG. They wish to know, sir, if you have children? .... NXA [1 ndicating his size]. One little boy.

TH1ANG (Crosses U.L. followed by her group). I have boy, too-Crown Prlnce Chaufa (;bululongkorn, heir to throne.

WIVES react with recognuion at the name.

J would be happy if you would teach children . r I.N!'A. I would like to, very much, [Steps off ihroru: table altd crosses THIANG fo n.R.] I carne all the way here fr orn Singapore to do so, but really under these conditions ...

TH1ANG_ You could be great help to all her-e, sir .

. ","NA [Turning). Lady Thfang, why do you call me "sir"? TArANG. Because you scientific. Not lowly, like woman.

_~X~'A [J'I"Ic1'l'dulotl.sJ- Do you all think women are more lowly than men?

Well I don't.

LADY TBl.'\NG crosses 10 WIVE'S group and 1!-1 ut] 1'1 r . accompa-nied by MUSICAL Siomrsr , tra.1/S/(1I1·5 tlus ID them, They all nod happil.1·.

TH1Al':G [Crosses R. 10 c.], Please sir, do not t:ell K.in~. Make Kinf;1 very angry.

ANNA (Tur?,s away R.J. King seezns to be angry already. [To TH1ANG_] That lovely girl- He said she was a present ...

mUNG. From Prince of Burma. J think she love another man. If so, she will never see other man again.

ANN..... Poor child!

"TRIA-NG. Oh no, sir. She is iooUsh child: to wish for another rrian when she has King.

.... NNA But you can't help wishing for a man, ii he's the man you want.

THIANG. It is strange faT schoolteacher to talk so--romantic.

.-'..NNA. Romantic! I suppose I am. [Rem-O'Z.'es locket.] I was very much in love with my late husband, Tom.

She gives locket 10 LADY 1"HIANG.

TH1 .... ~G. Torn.

She then CY05SCS to grott]» 0/ Wl\'ES shoios them thr locket, gives it to upstag~ girl who pasus round 10 (II" others downstage. a1Jd it is then fi·nnlly returned to ?'!RS_ ANNA. As LADY THJANG crosses to grOllp .<h,· ~.J,;plai.l'ls that " thi~ " is T 0111.

A);XA [CYosses u.r..]. Once a woman has loved like that, she under-

stands all other wornen who are in love. and she's on their side too,

even if she's just a schoolteacher.

Warn Cue I.

The WIVES repeal .. TO;'..) .. (wil" flowil bMI for TlIIISIC) as if fascinated. b_,' Ib~ sound.

J"]usic No. S ("Hello. -YOU7tg lovc1"S")

.-1..:"'1",,,,,. Yes ... Tom.

THTA:->G lHands locket back to MRS. ANNA.) He was pretty in face. .... X"5:A. Ob dear, yes. He was very pretty in face.

The WTVES arr ?IOW ill their gro o-p round tli« dais _ ___ .LAi:lY __ T.H-IAI>!{;_$la'ldi,cHg_ G~Qf Ihe -groupo- .,!fC'> "X::->_'I sliglrtl1' 10 her R. IlS sit, 'starts III sing .

Cue 7_

When I think of Tom.. 1 think about a night ..

When the earth sm.elled of aurrrmer And the sky was streaked with white, And the soft mist: of England

Was sleeping on a hill-

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15

SCE~£ 11

THE KING AND r

-1-Fen:t-.olm·9eF-W-5.,_~nd I always will , ..

Looks nt LADY THI"NG usho slip s rI.,;,,:U onto hCI'hnU5 and 5 i.f 5 011 hr.!' heels.

There are new lovers DOW OD the sam.e silent hill, Look.ing, on the same blue sea,

And I know Tom. and I are a part of them all, And they're al1 a part of Tom and me.

Hello, young lovers, whoever' you are, 1 hope your troubles are rew,

All my good wishes go with you tonjght, I've been in love like you.

Be brave, young lovers, and follow your star, Be brave and faithful and true,

Cling very close to each other tonightrve been in lQve_Ulce Y.Q):,l.

r know how it feels to have ~ings on your beels,

I East' 1:0 L. J And to fly down a street in a trance.

You fly down a street on the chance that you'll meet, And you meet-not really by chance.

Don't cry, young lovers, whatever you do,

Don't cry because I'm alone;.

All of my rnem.ories are happy tonight, I've had a love of my own,

I've had a love of my own, like yo urs-sI've had a love of my own.

,Aile', Applat!se, ]IF1 usic No. 9 EUC01"e: "Hello, young Lovers "

t-

TI" .. QRr.:H ESTRA beg"!s the rcfra! II a secorui 11111,.. she 1:5 still lor a moment, lost in her me maries: S II" starts to suo·ay 0" the 3Td bar I hr-n. o,~ Ih~7 til ,I" r slo .. ,{), icalsers across stage 10 1). R.

Be brave, young lovers, and follow your star, Be brave and faithful and true,

Cling very close to each other tonig_ht-

I've been in love like you, Warn Cue n.

I know how it feels to have wings on your heels.

And to fly down a street in a trance.

You fly down a street on the chance that you'll meet, And you meet-not really by chance.

Don't cry young lovers, whatever you do,

Don't cry because I'm alone.

Ali of my memories are happy tonight,. I've had a love of my own.

I've had a love pf my own, like yours,

I've had iii. love of my own. Cue b.

The WIVJ:;S look on herwifh a kind of aiue, The applause is broken by three loud eras/us 011 .the g011C ill the pit. The WJVES in two lines and LADY IHIA:>iG takrs, I'P positions R. krueling. The Kl.NG e-nteringfront L E .. I...

_1,nWJIrP. f/:tlsit.i£m...illi _lelu._dll,is.____. His .£:J1lr;.!..i.s__pn" eliMiJJy_ two AMAZONS who make their exits J.. afte» O,t' KING lias taken. up position.

They corne for presentment

The children! The children!

:1.5

SeE,,£; 11

THE KING AND I

-I~Fem,d.Gl.ee-F-'thi-s,-· - .'~Dd I always will ...

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Loo)IS nJ LA O\' THIANG iuko slips rloJi,:U 011/(1 her hnees and: sits Oil her heels,

There are new lovers now OD the same silent hill Lookang on the same blue sea, ' And I know Tom and I are a part of them all, And they're all a part of Tom and m.e.

Hello, young lovers, whoever you are, ] hope your troubles are few.

All my good wishes go with you tonight, I've been in love like you ..

Be brave, young lovers, and foliow your srar , Be brave and faithful and true,

Cling very close to each other tonigbtI've l;leen in IoveIlke YQ¥.

I know how it feels to have wings on your beels,

I Ease /'0 L.] And to fly down a street in a trance.

You fly down a street on the chance that you'll meet, And you meet-not: rea1Jy by chance.

Don't cry, young lovers, whatever you do,

Don't cry because I'm alone;

All of my memories are happy tonight, I've had a love of my own,

I've had a love of my own, like YOllrs:"_ I've had a love of illy own.

A fter A. pptaus e, lv11.1.sic A' o, 9 Encore: .. Hello, _young louers ..

T/Jt" ORCHESTRA be-gms tht: rcfrai u a second t inrr, slit" is stilt jar a nunuent, lost in /lCI' memories, .<'jh" starts to su'ay 011 lhe 3Td bar tlrrn. Oll f.JU! Tt): .<h., slo'L,I)' uraltzrs (J.4 ross 51 age 10 I) _ R_

Be brave, young lovers, and follow your star,

Be brave and faithful and true.

Cling very close to each other tonight-

I've been in love like you. \\-arn Cue I-i.

I know how it feels to have wings on your heels.

And to fly down a street in a trance.

You fly down a street on the chance that you Tl rrreet, And you :meet-Dot really by chance.

Don't cry young lovers, whatever you do,

Don't cry because I'm alene.

All of my mem.orles are happy tonight, I've had a love of ro.y own.

I've had a love of my own, like yours,

I've had a love of my own. Cue b.

The WJVES look on he" With a kind oj awe. The applause is broken by three loud crashes em llse g01lg i11 Ihe-pit. The W.lVES in two lvnes and LADY TFI 1.'o.NG takrs, up positions R. kneeling. The KING e+uering fron: l E.!.. _11J,ke.s_l'-P-fW.sit_i'm.A:lJJh£__dais._Hi.s_£ntr~.P..r&.c.cdcd_by. Iwo AMAZONS who make thrir r:n(s L after tlu: KING has

taken up position. .

KIXG. The children! The children! They come for presenttnent

to schoolteacher.

_ A~-;:O:." rCrossi'ng u.r.]. This is all very interesting, Your Majesty-but

it has not served my problem

is

TffE KING AND I

ACT 1

KING [Points downstage L.]. Silence! You will stand here to meet

Royal. 'hflrl?e_~ - - - -- -

ANNA [Reluctan.tly accepting his order]. Very well, Your Majesty. [Crosses D.L.]

KING. The Royal Princes and Princesses!

Music No. 10

(The March of tile Siamese Children)

This begins th« entrance of the CHa.DREN, uiho enter from tr.a, on", by ant, bow before the KING. cross down to I\.NNA. and toucll hsr hands to their [oreheads. Some of lhe CHILDREN are taken back into positions by their MOTHERS to stage R. There they kneel and watch the other C.H1LDREN maki?lg their eniramces,

L 1st CHILD (Girl) holding a Scotch doll in her arrns, is carried on by one of the Amazon (4).

She gives the doll to the Arnazon before bowing to Klng., bows to Anna and is taken back into position by wife 10. Amazon Backs o'flR . .2.-··--

2. 2nd CHILD (Boy) carried on by Arriazon , bows to King and Mrs. Anna then is taken back into position by wife 6. Amazon exits R.2.

3. THE TWINS walk On together holding hands, do their bows together and are taken into posrtfoa by wife 5.

4. 5th CHILD (Boy) walks on, does bow to Kin~, is about to touch Mrs. Anna's hands, looks at his own hands. realises they are dirty, rubs his hands on the seat of his rrousecs, then does his bow to Mrs. Anna and is taken back into position by wife 7.

5. 5th CHII:,D (Girl) walks on, stares fascinated at Mrs. Anna all through ber bow to King, crosses down to Mrs. Annat does normal bow to her then rnakes a grab at Mrs. Anna's skirt, lifts it (looks beneath it). The.King steps forward angrily, claps his hands, she is shamefacedly 1:a.ken back Inro position by wife 9.

6. PR!NCE CHULULONGKORN enters with dignity as befits a crOVVIl prince, does his bow to the King, King ceremoniously returns his first bow, he bows to -, Mrs. Anna who curtsies. TWang shows her pride and Indicates to Mrs. Anna that this is her son. He then backs into posrtfon a little in front of the others, downstage of Lady Tbiang who puts her arm around his shoulder. Note :-Every move the Prince makes is timed precisely to m.usic.

7. 7th CHILD (Girl) after bel" bows to Mrs. Anna she turns and starts to walk into position right. He.r rnorhar I points to her and indicates that she has forgotten something and tha.t she should turn back. Realising her rniarake, she turns to Anna, takes a red rose frOID ber bai.rt which she offers to Anna, then backs into her posttion, assisted by the motner.

Warn Cues 9, 10 and 11.

Warn No.2 Tab close G.P. to P.

8. 8th CHILD (Bay). Mother wHe 8 does straight bow to King and curtsey to Mrs. Anna.

lJ. 9th CHILD (PRINCESS YING YAOWLAK). She enters sm1llng, starts to lllOunt throne to embrace her father. He hastily pushes her aside, she bows. Going to Mrs. Anna she is crestfallen, but: by the tfrne she has taken up position, sbe is smiling again.

10. 10th CHILD (Boy) enters chewing a sweet. Spits this into his hand before bowing to King. After his bow to Mrs. Annat a~he ~alks Q.~c;Jt_m~Q..ROslti9_g he .puts_s:wee.1.haclLinto

-fils mouth, put into' posrtlon by wife 4. -

ll. 11th CHILD (Bay) is carried on by Amazon, he holds in his arms the Siam.ese cat, is put down onsrage, looks at the J(ini who shakes his bead, gives the cat to the Amazon who exits 2 E.R. then does his bows to Anna and the King. He:ls put into position by wife 3.

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17

SCENE II

THE KING AND I

-'-1:2. -1~--e1fH::;B·-tBoy)-(-S:maHe8t hiJdHs-earried-'On-b-y---AlEazan, is set down, the Amazon exits 2 E.R. 3S child crosses to the Kin", tugs at his pen oang , bows; the King had been looking in the opposite direction. ChUd bows 'to Mrs. Anna. and then backs into position.

He reaches thi.s position as the music comes to an end and 071 the final !leal, flVeTYrm.c bows forward to tbe lUNG and ANNA..

ANNA looks tV them. lauded. Slowly she crosses u.c., the CR1LDREN watching her out oj the corner of their ryes. She starts to take off her bonnet signifying sbe will' stay.

Music No.1]

(Postlude to the March afthe Siamese Children)

C}1' '..DREN. Oh!

They all ru?l up ami surround her, including tnt' WIVES. 'The lONG goes off 2 E.L. saJisjied snt: will stay. Two of the CHILDREN have ANNA.'S hal and having mounted the throne dais, they 41'£ seen. t'l'ying on the hat as the c trlain closes.

Cue 9 and Close ):10. 2 Tab as ANNA removes hat and ensemble move to her.

Cue 10. When No.2 Tab is closed. Working light when Tab is closed.

NOTE: 0pli()'I'I.Q.[ addition. to this. In the event of there being only 11 children available cut the 1st Time bar. The children should be numbered I to 12. Inclusive of the Prince Chuluionglwrn. The twins caunting as T. Otheruris« tki$ layout will not tally with the SC01'e.

i8

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ACT I-SCENE 3

SCEN"E: Fn jl'01U oj .\'0. 2 (E.\·II'I'I",.) Trovrllrr JlIfu.,ic No, 12 .

(Scene before Curtain)

AT IUSE: A gl'Ottp o] PRIESTS niter from J 1::.1 .. C1S soon as tab is closed, cllan#ng the. couruer-melody 10 " Honir Sumet Home." Th~1 walk very slowly, whe» the.y al'e about C_, the CHILDREN enter from 1 E.R.. singing .. Home Sweet Home." they are follouied by the PRI!'ICE CBlJLULONGKORN wilh PHRA AL"ACK bringing liP the rear, They walh two by two i" lime to the mllsh. As the teaiiing CHILDREN get 10 L.C., the KING I'll Ius from ] .E.L. crosses to C., gestures CHULGLONGKORN 071i oj lin«. PIUNCE drops down to L of KJXG c.

Cue i 1. 'When King enters.

KlNG, Chululongkorn!

PRINCE [Crossi1~g down]. Father, J shall be late for schooL

KING [Folds arms). You wait. Please to recite proverb you have learned yesterday and writing do-wn twelve ti.rnes in your copybook.

PRINCE [Copies. folds arms]. "A thought for the day: East or West, home is best."

K1NG. East, West. home best. Ho:m.e! [Crosses to R.C. then back to c.) Means house. Every day fOT m.any, many months! Always something about a house! (Crosst!$ to c.] Are my children to be taught nothing rnor'e?

PRINCE. Yesterday we are taught that the world is a round ball which spins on a stick through the ll1iddle.

Looks at lhe KING to set' thr t'.f}u:( of th is OIli.T<lge01lS

statement.

EVC1-yoTlC knows that the world rides on the back of a great turtle, which keeps it from n.mning into the stars.

KING (Arms autstretchedJ_ How can it be that everyone knows one thing, if many people believe another thing?

PruNCE [Copies KING). Then which is true?

KIKG [Decides hesitantly, eases R. to R.C.]' The world is ball with stick tnrougb it ... I believe.

PRINCE [Cross-ing to KING]. You believe? Does that mean you do not knotr? [Pallse.] But you must know, because you are King.

Warn Cue 12. [{ING [Puts arm arourui PRINCE, leads kim to -D.L.]. Someday you too will be King and yoo too will know everything. [Turns boy to him on last word.] PRINCE. But how do I learn? And when do I know that I know eve~g?

KJ?o:G [Not sure of himsclfJ. Wben-you-are-King. Now leave m.e.

PRINCE backs of! to 1 E_L.

Wben you are King. [Crosses to R.C.] But I do not know. I arn not sure. I A.M NOT SURE OF ANYTHING. [Sings.]

Music No. 13 (" A Puzzifmteat")

Cue 12. Start of song.

When I was a boy World was better spot. What was so was so, "What was not was not.

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SeE;>!}; 111

19

THE KING AND I

Now I am a man;

World have cbange a lot. Some things neariy so, Others ncarlJI not.

There are times 1 almost think

I am not sure of what I absolutely know. Very often find confusion

In conclusion I concluded long ago.

In roy head· are many facts [Hands to head.] That, as a student, I have studied to procure, In my head are many facts ...

Of which I wish I was more certain I was sure:

Crosses to L.C. on intertude, Speaks, Is a puzzlement! [Sits.1 What to tell a growing son!

[St·lIgs.]

What, JOr instance, shaD. fsay to him of women? Shallledncate hhn. on the ancient lines?

Shall I tell the boy, as far as be is able,

To respect his wives and love his concu.bines? Shall I tell him every one is llke the other, And the better ODe of two is really neither?

If I tell h.irn this I think he won't believe itAnd 1 near1y think I don't believe it either!-

Rises, crosses 10 c.

\Vhen my father was a king

He was a king who .knew exactly what he knew, And his braiD was not a thing

Forever swmging to and fro and fro and to. Shall I, then be like my father

And be wilfully unmovable and strong? Or is better to be right? ...

Or run J right when I believe I m.ay be wrong?

Crosses to R.C. 0'1 musical in.terhlde. Sits.

Shall I jam with other nations in alliance? If alUes are weak, am. I not best alone?

If allies are strong with power to protect me, Might they not protect me out of all I own? Is a danger to be trusting one another,

One will seldom want to do what other wishes;

Rises 1'P to knuli11g position.

But: unless someday somebody trust somebody There'll benorhmg left on earth excepting fishes!

Rise, crosses to c.

There are rimes I alm.ost think

No.body s.w:~_Lw.ha:t....b._e .sbsplntely know. Everybody :find confusion

In conclusion he concluded long ago And it puzzre me to Iearn

That tho ' a man rnay be in doubt of what he know, V~ry quickly will he tight ... He!i.-l-ag.at,-t&-pt'9ve-that-what he does·not-know-is so!

Warn Limes.

Cues 13, 14.. 15, and No.2 Tabs.

Steps. downstage.

Ob-h-h-b-b-h Sometimes I think that people going mad!

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20

THE KING AND I

ACT I

-Ah-h-h-h-b-~--[M"""~bachpstag!':-] Som.etbnes I think that people not so badl But not matter what I think

I :must go on living life.

As leader of my kingdom I m.ust go forth, Be father to my chlldren,

And husband to each wife--

Etcetera, etcetera, and so forth.

Working light out.

Drops forward on knees, hold arms up lfl prayin.g attitude.

If my Lord in Heaven Buddha, show the way. Every day I try to live another day.

H my Lord in Heaven, Buddha, show the "Way, Every day I do:my best for one-more dayl

Lapses into speech.

But ... is a puzzfernerrtl

He holds pose for music efld, drops forurarti onto ha.,.ds for glissando.

Cue 13 and Limes ,foT D.E.C.

Cue 14. Open No.2 Tabs to O.P r11P l,r;

As KING drops forward on hands.

On schoolroom music ( .. Bangkok Academy"). When T abs are open.

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21

ACT I-SCENE 4

?CEXE:' The Sc/jool-t'o~m. Full sfage set. Up 0/ c. :s a largt: .map stand liJLLil a map ha'ngillg on it. This 15 fl",! a",cun! map. showing II vo:-ry large Siam tuit]: a IIi.r~l-~. PIfU":t: 0/ a?l armoured king sltpf!rimpostld. Ad_loznlng H Q smaller Hnrma, with II palntltic naked figm·".

AT RISE: TJu CHILDREN are i71 Hnt:S up L. of c .. s~lYJing tJleir_ school sD7Ig. A t the up stage rnd of the dlago'naJ L. IS TUPTIM. LOUIS and !J.t' PRlNCE. L_~DY TBIANG is standing R. 0/ map to ope». Tilt: WIVES sttmding behind tI;e CHILDREN, lIu A.MAZONS iu:hind WIVES. MRS. AN"." is R.C. with pointt:r i?1 her IJa1ui ccmdlldi7lg IIII' 5; ngi·lIg.

Music No. 14 (School-room SCt}71C)

.... LL [As wrtain opens).

We work 'and work From week to week

At the Royal Bangkok Academy. And English words are all we speak At the Royal Bangkok. , .

MRS. ANXA interrupts th« si'1'Ig_ing. Si'lIgi7lg tales off. _ music fades,

ANNA. Now, look. You're all up In that corner. Now spread out chlldren.

They all ease doumstagr . LADY THUl<;G crosses lu Lof ?7I-I1p.

Now. that last line was "English words are all we speak". That wasn't very clear. I want to hear 'the beginnings and the ends of your words, Once again now, shoulders back, chins up, [Broad reactions from all. 7 and nice big s.miles, because this is your school song, and you love 'your school. Now, come aJong--one--tv."o--three.

111usic continues

,\LL [Si?lgingJ. We work and work From week to week

At the Royal Bangkok Academy. And EngJish words

Are all we speak

At the Royal Ban~ok Academy, If we pay attention to out' teacher And' obey'·he:Feftry rule, --

We'll be grateful for

Those golden years

ll-.t our. dear'.old .scnool.

Th.e RoyaLBan~kok Academy, Our dear old schooL

ANNA. That's flne,--Now, take-your places-for class. where you belong.

You all know

A.LL onstage lake tIP positions wll.ich Iitrywill reiair: unlil tht' bt'ginning of ,. Celli".g to kn~ you." T'he taller of the. 12 CH1LDREN sit and form a diagon.a! lin~ R. Th« principal dancer kneels behiud the CHILDREN, TUPTDI stands upstage 0/ principal dancer,

22

SeD:}': rv

THE KJNG AND I

-------- ------

Lady Thlang, will you star-t,

f'Rll'CE k nrcl s "p.;lag~ at' Tl:PTD1. The sis ssuallrr c"HII.DREN tak« liP posillo-ns forming a straighlli'm D.C. The 'rwrxs sit on th« extreme L. of this lint:. TIl{ BOY ~h.o works with ~IRS. ANNA sillitlg 2nd [rom R. oj lids ine,

The A)IAZONS /1101'(' two each sidr o] map. TJIF AM AZON wit Ii till: I roy 01'1 toh ic h arc Sf! I"~ fingrr c vmbals T[;PTI)! .1Ises later, positiuns herself R. of map The A'IoLU.OS wllh the scarf that "IRS ..... NSA uses 1.< Ifps/Ilgr L. LO(;!S "'O('(S to U.L. oj map \\'1.'1:5 .'1 ;11 fWD diagonol Ii nes, L

ANNA lsands pultlla In LADY TH lANG, lhr n sits 01. stool, T •• of 1I1a(>.

THIANG rUsing pointe.r]. Blue is ocean. Red-Siam.

E,!IJllrHaS/1l" af1plallsr from CHII.DRIZN at Siam's !!,'wl sit{'

Here Is King of Srazn.

/.ldu.al r 5 ill'III('JI1 red. tig""', In rl~ht hand is weapon, show how he destroy all who fight hiID..

More apfrla1tsr [rom CHILDRES_

Green-Burm.a.

Here, is King of Burma.

LADY TH1ANC looks disapprovmgly 0.1 TL;P1"IM. I;','Jl mra.1'li'>lgly 10 ironto Tt:PTI).f looks awo3'

hutir.oles 1uzked fi~lIr<".

No clothes mean bow poor is King of Burma.

CHILDREN giggle.

ANNA [Rising, takes puinterJ. Thank you, Lady Thiang, WiU yon take my place?

TIlI."NG sits L. 0/ mat».

The rraap yon have been looking at is an old one. Today we have a surprise.. Louis, will yon pull that cord for me?

LOUTS rolis projection.

A new map--Just arrived trom England. It is a present to His Majesty your King.

WIVES AND CHILDREN [Bowing dutifullyJ. The Lord of Ught. ANNA. Er-yes-the Lord of Ught.

doum (1,1% J 86~ tuorld

The CHILDREN gasp

US from

map I II muca/or

CHrLORJ;:)I sit tIP. I.Ol,;IS takt'-S pointer ,!'Olrl ..... xx ...

AN~A eases to R. .

LOUTS. The white is Siam.

'There is a groan of disbehr] a lui d£sQ-ppoillllllrnt [ron 'he CH1LDREN and wrvss.

PRINCE [Indignantly]. Siam. not so small! A.."'INA. Hush, Your IDghness!

LOt;IS. Wait! Let me show you England. [Poiuls.J See? England is even sIDaller than Siam.

CHILDREN indicate appr01:af .. A h! ! l " A N)I A lases eloum. c. as she sp~tiks_ Lams gilles poin/~., to LADY TflIANG, picks tip stool L. 0/ 'map and places it c. THIANG hangs pointr:r on back oj map stand, r:Ot:IS backs tIP to L. of map.

A!'<NA. For many years, before I came here, SiaInwas to m.e just .u_~e that litt;!~_V!!rlte ~.l!Q!:__.lSits.l_ Now I I!ave lived here for ID.ore than __ ~ year. I have met the people of Siam. I'm beg.inning to understand them.._

A I'RIKCESS rCR. line). You like us?

A"NA. I ilke Y0l. very much. Very :m.uch indeed.

Music No. 15 ("Getting to know )'01''')

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23

THE KING AND I

AcT. I

'GHu s: nR-EN r :Ah+ .• H.---

.ANNA [Sings.] It's a very ancient saying,

But a true and honest thought, That if you become a teacher, By your pupils you'U be taught. As a teacher I've been learning, (You'll forgive m.e if I boast) And I've now become an expert, On the subject I like rnosr, [Spoken.] Getting to know you.

Getting to know you, getting to know all about you. Getting to like you, getting to hope you Hke me. Getting to know you, putting it my way,

·But nicely,

You are precisely,

My cup of tea. (Children giggle.]

GeftIDg to Know you, ge~ ofeel free and easy. When I am with yon., gettinl:t to know what to say. Haven't you noticed?

Suddenly I'm bright and breezy ... Because of all the beautiful and new,

Things I'm learning about you day, by, day.

A._'1NA crosses down to JY07~t linc CHILDREN R., coinmenses leaching (hem !tow to :shake hands. r.otrrs 1'cplaces stool U.L oj ma]». T'hrn crosses to dir:.gO'/";al line oj CR1l.DREN R. and he teaches them,

ALl. EXCEPT CHILDREN.

Getting to know you,

Getting to know a.ll about you. Getting to like you,

..If litis -Doi.,..t ANSA reaches tile TWL'"S_ As thl! TWLt-lS are alw"ays /toldi7lg hands she is a tau« pl!Ypl~ed. Soan solues tlu: problem oj their handshake bv crossing liasuis,

Getting to hope you like me.

LOUIS teaching CHILDREN here. A~~ A inclicales V,rrYES to join in. The . ." shake baud s, ANNA crosses L. circle turn. to U .c.

Gettin~ to know you, Putting it my way but nicely You are precisely

ANNA [Solo. embraces r.oms .on line].

My cup of tea.

All CHILDREN arms !~p On lime, ALL. (Sway R. 10 L. ANNA crosses D.L. curtsey business to .TH1ANC. LOUIS (;1'OSSes

D.R. calls PRINCE out of line, bow business].

Gettin,~ to ·knew-you, Getting to feel free and easy

ANNA a.nrl THIANG curtsey, boys bow.

When I am with you, Getting to know what to say.

AN~A, LOUIS, PR!.NCE, THIANG-whcel.

Haven't you noticed [lkfinuet turn.] Suddenly I'm bright and breezy

E1l.d o] wheel, THIA..'lG ond PRJNCE cross U.It. Lours to L. of mat. WIFE (No.3) hal1dshake with ANNA v.L. WIFE (No, 10) handshake with ANN" U.L. Then they -rniu.rn: to plac»:

.24

ScENE IV

THE KING AND I

Because of an the beaufifUl and new-

Things I'm learning about you [Handsha.ke AMAZON D.L.]

Day}

by [Boy runs up to MRS. ANNA, handshake business,

day. crossing to D.L.]

TWINS TUn 1'1; to gel principal dancer, then cross n.a, front lin« of C1ITLDREN clear to L and R. TUPTIld takes up position willI finger cymbals R. oj map. 18 bars school-room dance, uoices tacet, Dance continues for fltrlhg 20 bars during whir;.}, WIVES and CHTLDR"EN sing. NOTE:-Durinc this ANNA has obtained scarf from AMAZON U.L. a.nd borrowed hat from PRINCE.

WIVES A-"ID CBll..DREN.

Getting to know you, Getting to feel free and easy When I am with you. Getting to know what to say

Haven't you ~oticed?

Suddenly I'm bright and breezy

[A~'NA, sway ski,'!.]

DANCER calls C'fJLDREN round 111'1'.

ANNA /Z.nd DA.NCER step to l..

Because of all the beautiful and new, Things I'm learning about you

Day by day.

A"'NA.

ANNA C>'OSSlJS and sit D.C. Sings Solo.

Getting to know you [ANNA tap with Jam to R.l Getting to feel free [ANN A tap with fan to L. ] and easy.

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CHILDREN sit i't'J line L. and R. as called, IHIANG.

TUPTIM. parNCE and i.otns drop in behind CHILDREN'S ~

line R. •

AU.

When I am with you, Getting to know what to say

Haven't you noticed [ANNAJeet business, children copy.] Suddenly rm bright [Al\'NA raise kat.]

and breezy, [CH1LDRE.N raise hats with ANNA.] Because of [ANNA links hands left and right, sway.]

all the beautiful and new, Things 1':m learning about you Day [Hands u.p~]

by [Hands down.]

day. [Hands u.p and down, followed by head business.]

Encore

ALL Jwld these positions [or appla1l5c. When music starts for encore, ALL CRILD.REN stand, TWIN 01lR. of ANNA assisting her 10 rise. TWIN on L. of ANNA holds on to her skirt wilh one hand. the other CHILDREN 011 stage L. linking hands with her jre/!. hand. The CHILDREN on R. of ANNA cross 11pstage of her to t, .• link ttp Wilh end oj line crocodile fashion, ANNA leads them in R. circle turn 10 U .c. f he CHTLDREN " Follow n~'y leader •• fashion.

ALL.

Getting to know you, Getting to feel free and easy, When I am with you.

"'GettJng"rO"1:c:o"o"W wna"t-ta say,

CBILDR.E.N leave MRS. ANNA U.C. R1m into th» positions they uiere in at the start of the song and remain --:sta:~R:I:N'CE"""ru~n'P---trr-Jnr.!>,7,-r<IN"x·-as-'h~ Gds to v.C .. takes her by the "czn.d. pulls her downstage L. does turns,

Haven't you noticed?

Suddenly I'm bright and breezy,

ANNA crosses i71 [ront oj 0.5. CHILDREN '5 tine indieating with fan for them 6lu;h to sit, ./l71iskes o.c.

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25

THE KING AND I

-Be€oa-llse·of-a-ll-Ege·-beautifaJ-and . ew Things PIn learning about you

Day. BOY crO.~5CS up [rotu D.L. [0 MRS. AX".". indicates llra! lie wn.nis his "at buc», tliis she givr.s him.

by Day.

.BOY back into his position i'l! D.S. tinl! {lJ CIHLORJ::N mid. salon last burt of music.

A..~NA [Giving scarf back to AM_ .... ZO.:-< L.J. My goodness! This started out to be a Iessonl Now let's get back to work.

.-H.L 01,l ... t age arc now back I.n til" positions 1111'"" '.I'frr hi

at I/t.r. ronnuencement oj ttre sOIlg, •

Now, are there any questions?

PRlNCE [Poi~lling to map]. What is that green up there? ANNA [At left oj map]. Tb.at is Norway.

Rf'pcals prrcisely fOI' 1111! benefit of the students,

Norway.

WrVES AND CHILDREN [Repr:at unfamiliar wordJ. Norway.

~NA. Norway is a very cold plac_e. It is sornetiJnes so cold that the lakes and rivers freeze, and the water becorrres so hard you can walk on it.

A PRINCE [Crossi~~g up to A..,",XA). Walk on water? ANNA. Yes, walk on water.

PRINCE [incredulous]. How is possible? Hard water!

ANN.~. It is not only hard, but very slippery too. When people walk on it. they fall down, and slide.

FRfNCE slides back into his position ill I).c.line. Genrrat reaction. oJ disbelie],

Not only do the lakes and rivers freeze., but the raindrops, as they faU, are changed into sm..all white spots that Jook like lace! This is called snow!'

TDPTIM [Fascinated]. Snow?

PRINCE [AU but sneering]. Spots of lace!

Th e schoolroom b,.~ak"p commences her«

ANNA. Yes. Your Highness! fr'orrr the sky.

The water freezes--on the way down

\V IVES and CHILURJ::N start to firi.t;el.

PRINCE CHULULOXGKORN lCl'ossing D.R.). And the raindrops turn into little stars!

Till! PUPILS Cigglt·, their creduli.ty st ra in ed to breaking point.

ANNA [Crossing D.R. to PRL'\'CE]. Yes, Your Highness. SOIne are shaped like stars-small, white-

1st PRlNCESS. There's not a word of truth in it.

PRINCESS YING YAOWLAK [Pulls at s: "'N ... 's skirt]. I do not believe such thing as snow!

Cri cs 0/ assent,

1st PRINCE. And 1 do not believe SiaII1 is so big. [Indicates sur. with hands.)

2nd PRCNCE. And other countries so big. [Wide gestul'<'.J PRIXCE CHULULONGKORN. Siam biggest country in the world!

Sholi1s,_ . cartudieels, .panticmonu,itt.. .Dur..i.11{J- tke. scramble lh« WIVES aided by the Ali. ..... ZONS try 10 ql,iet"n. the CHILDREN. • ... Nl';A and. LOUIS crossing to D.L .• THIANG to c. stage. PRINCle: 10 R. 0/ ma'p unit. Tt;PIDI tv c. of map unit. "M"ZONS /0 U.L. WIVES and. CHILDREN dress stage 41'('a. ST_-l.GE M ..... NAGE"R cues KI.l'.'G 011 /1·0111 l'.R. tobrn ANN" a.ru]: LOUIS gd into pOSlt'ion I). L ..

:;Cr::~E lV THE KING AND I

KJ:--'G r.CYOS,~i1Ig dOWII level w';lh AX",.~J. What? Wbat? Wbat?

,~LL but A)::-!A and I_OU IS IIII!lU-dtald.11 p rostrntr III~m-

How can schoolroom be so ... unscientific?

ANN_~. Your Majesty, we have had a little misunder~tanding. I was describing snow to them and they refused to believe that there was such a tbjng.

KING, Snow? .... :-:<2>111.,. Snow,

KING rFeding Ins wayJ Ab, yes, frorn mountain top. .-'lNNA. From the sky.

KING. From sky to mountain top.

PRII'CE CHULULONGKORN [A-neel.s "l,tP, then looks at MRS. AN!"AJ. Sire .. _ please ... How does it come down from the sky?

KING lOONS at ANN!\. [or g'mda.nce, ANNA makes jailing le(Ljg~s'ltye wilh right hand. KING looks al PRINCE CFfULULONGKOR.N and »uikes n:at;lly the same gesture.

J,:J.'\!G. Like this,

PRI.'ICE CHLLULONGKOllN. Thank you sire. r Resumes position. head down.]

KING snaps fingers as !f /0 /;';"li flu picture back 10 mind.

x rxc. I have seen pictures-Switze,:"!2;!1t:!~ L::.:::.c! all whit;;;-witi::t

snow.

ALL heads, slowly stnrt to 1'<St.

.-'I"'1'\A. That's right Your Majesty.

KING turns to class wilh (l'1'!. (fngry ch olleng«.

KING. Wbo does not believe this?

AU d IIc.k heads quickly T herr is com-plete .Ii 11'1If.e

ANNA.. Well, after all, they bave never seen it.

KING. Never see? If they will know only what they see, why do we have schoolroom?

Turns to class, cracks out an an{{ry rom marui, lIuy ALL jump to thei!' ju:.

FtiSe! Do not ever let me hear of not believing schoolteacher whom I ",'Ve bring bere at great expense-twenty pounds-

ALL gasp, look at A.'I;o;,., acrusingly as t] she taer« robbing Ihe t;;ISG.

each month. [Gasp.] Twenty English pounds! ['Siamps foot.l Sterling!

Thinkl1lg tliat this stampin.g IS in. anger, amd '101 knowing what" Sterling .. means. they ALL [all 10 1/1l<

Jlo(JT again KING crosses If) U.R. then back to n.R.

Children must learn. [TUI'7lS to AN"""'. crossing doum. level.] Teacher must teach! [His temper begins to mount uP.l Not waste time instructing children in silly English song "Home sweet House", [R. Circle tUY1~ cross to R.J to remind me of breaking pronlises 1 never made" etcetera, etcetera, [Tltrns awa~", to right, Ihi11k.S better of it] etcetera-

.-'\x:-; s, Your Majesty _., you did promise me a house. [He glares a,t her.] "A brick residence adjoining the Royal Palace." Those were your

~wor.ds_in_}[o..w:..rettel:.. . . __ . _. """"'"_ .. ..

K!:-<G [Obviously does rCltne>'Jlber]. I do not remember such words. .~!-;~).. I remember them.

KING [TunlS on he,']. 1 will do remembering. Who is King here, I remind you-so you remember that! I do not know of any p.rornis as. J do not know anything except that you are my servant.

K rNC moves as 'f to exit u, i~ A 5 he reaches /001 of str ps .\lll s .. P': x.~ .~p,ra ks .

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2?

THE KING AND I

AC7 I

,..-- ANNA [As !!~adiJ1' as she canJ Oh, no, Your Majesty!

ALL heads stowly rise:

KING [Cross£ng down In'd with. MRS. ANNA]. What? What? What? r say you are my servant!

PRINCE CHL'L()LONGKORN CI'OS5tS doum brln nd KING 10 his R.

ANNA. No, Your Majesty.rindeed-s-J am not your servant.

PRlNCE CHULULONGKORN. I would say your mother has ba-d rnanuer-s. LOurs [Hotly]. Oh, you would, would you? Well, I'd say your father

has no rnanners at all.

Both BOYS moue tou/ards each other 10 fiffhl. Bott, aTe pltsh.~d. back by thetr respectzu» parent, PRINCE finishes up kneeling 011 the jioor ul"hi"rl his (aIIlN. Looh«

be.!.itid :!If zs , A nlla. .

ANNA. Louis! [To KING.] If you do not give rne the house you promised rne, I shall return to En~land.

Genera! ad libs from CHIL))RE.)i. rwrxs '!ltd PRINCE ease douru. in [rout of .... 1'1>: ~.

VOICES lChildre1t]. No! No! No! Do not go to Englan.d. PRINCESS. We learn. We believe schoolteacher.

PRINCESS YWC YAOWLAK [Crawls on knees to KING]. I believe in sriow! TH1ANG. Do not let her go away.

KING [To ANNA J. I let her do nothing that is not my pleasure. It is my pleasure you stay here. You stay bere in palace. [F1·oni,. CL1'ms folded. 1 In Palace!

ANNA. No, Your Majesty,

lONG [WeakeningJ. I give you servants. [Eases upstage between two children U.R.] I give you bigger room_

A~NA [She does -not UJea.kc-n]. That is not the point Your Majesty!

KING [Places hand on each of child's head]. Why wish you 1:0 leave these children, all whom loving you so extraordinarily?

ANNA [Looking at TWIJ\S and PRINCE]' I do not wish to leave the.m.. I love them too ... quite extraordinarily. [Ease in to c.] But I cannot stay in a courrtry where a promise has no rneaning.

KING [Ang1'7"iy, crosses n.R.]. I will hear no rnore about this promise.

CBYLORE».' prt'pan e%il for Al'IK ....

ANNA.. A land where there is talk of honour, .arrd a wish for Siam to take her place among the m.odern nations of the world! Where there is talk of great changes, but where everything still remains according to the wishes of the King!

War n Cue 16.

KING [Crosses up level). You will say no rno.re! No more!

ANNA [On the edge of tears]. I will say no more, because--I have no more to say.

ANSA, [ollotued b.v Lours exits U.L. "IN'G crosses n.n.

umiches her go. ALL ensemblr ad lib.

¥- ALL WIVES AND CHILDREN. Please don't go Mrs. Anna, etc., etc.

KING [Turns, starts to crass D.]. Out! Outl Out!

The')' scurry Old R. and L., the main body o] lJi~ CruLPREN exit R. The K1NG crosses to D.R.C. turns and faces wpstage, PRINCE and LADY TmANG katIe remained knuHng L. and R. of KJNG. LADY TRIANO kne.rls up. ma.kes an appealing gesJurt: urit It her hand, KING dismisses her urith. a curt mouement of the head, she backs off 1 :E.L. PRINCE backs off 1 E.R. The "Rff.lG -s-t1,ollg1fls- -ti1'e conJuSeil, h.-e-CToSSU··1i.'j.f rs t: of the map, looks alit.

Music No. 16 (11'1cidental)

Cue 16. On music.

28

SCENE IV

THE KING AND 1

KCz,,·G. So big ;i:l "World! Sj~m v~?"y smclL~:;!lo!"!" ve~ ~r'""a!l ... [Crosses to D.C.] All people very sm.all. No man bigenoueh for to be alone. [Looks off L.] No man big enough! Kingi' lUng di1ferent! !Cine need 00 one ... nobody at all! (Three steps off to L.) I think!

He goes off L. quickly. In a moment, timed musically, TUPTIM enlt:Ts [rom. V.L. carrying a: book, she crosses doum to D.L., kneels, cautious but obviously expecting, someone. A Jew seconds later LUN THA enters [rom U .R. crOSSfJS down to n.R.C. looking cautiously about him.

U:X. Where is Mrs. Anna?

TUPTIM_ She will not be with us ever again. She has quarrelled with the King.

LUN. How can we meet, if she is not with usi' Mrs. Anna was our ,)Dly friend ... [Moues towards her.]

TVPTIM [Stopping him]. We cannot be seen talldng llk.e this. Aoyone can come in. [LUN eases back to R.C.] Pretend you wait for ber.

IV.I usic No. 17

- - - - -

(We Kiss in a Shadow)

LU.· [Bitterly as he sits on floor R.C. cross legged). If only we could stop pretending.

LllN [Sings]. We kiss in the shadow, We hide from. the moon, Our meetings are few, And over too soon..

We speak in a whisper, Afraid to be beard; When people are near, We speak not a word. Alone in our secret, Together we Sigh,

For one smiling day to be free To kiss in the sunlight

And say to the sky:

"Behold and believe what you see! Behold how my lover loves me!"

The ORCHESTRA begins the second refrai» under the following di.alogue.

LUl". Tuptlrn, when can we meet.? VVheo?

TL"PTIM. It is not possible. We cannot meet alone ever-not ever.

[Sings.]

We speak in a whisper Afraid to be beard. When people are near, We speak not a word.

LUN [Rises, looks at TUPTIMJ. ~

Alone in our secret, Together we sig~

For. D_l!__e s_mFlng da_y to be fre~.

Warn Cues 17 and 18.

LID" AND TUPIlM.

To kiss in the sunlight And say to the sky :

"Behold and believe what you see! Behold how my love~ lo",:es m~!"

. ~ ----

THEY hold positions waking at cueh other, for applauseThe ORCHESTRA starts the reJrain again. LUN T'H.lI. cautious and Il'J1UfJ, backs upstag~ looks firstly to L., then to R., starts slowly to walk down 10 TUPTIM. On music .. Afraid to be heard."

Cue 17. rHIANG Spot.

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THE KING AND I

ACT r

L.ADY THlANG enters from U.1.. .• !i/!I!S Iht two lovers together, backs off, comes back onstag» to be slIre '---we-spealr not a "Word ., Cue 1 g

back!i offstage agai'n unse.en by the tll)O 10001lfs. TUPTIM knuJing. LUN iRA about to kiss her, Sttddenly .. Alone in our secret" TUPTIM breaks awa.'V.

LUN. What is IV

TUPTlM. Someone was here!

She runs, looks off up L., LUN runs looks off R. frarfullv.

they meet upstage by R. of map. .

Warn Cues 19. and No. J Tab.

I had a feeling someone was watching us. Please go! Please!

LUN't.-yS to embrace TUP'f!M. she pushes him away.

To kiss in the sunlight, And say to the sky :

"Behold and believe wbat you see! Behold how my lover loves me'"

LUN steps back, hesitates, illim runs off U.R. Music of "'70 be free." TUPTIM si',ks to herR-nl!es H.R.C. {mdsings.

Her head droops, a picture oj dejection as thl! tab closes.

" Lover loves me ..

Cue 19. Close No. 1 Tab P. to O.P. "\i\'orking light.

Tab closed.

Segue music into next scene.

INTERMEDIATE SCENE

(Between and Following Schoolroom)

Mtl.Sic No. 18

(Reprise." "A Puzzlement' ')

SCENE: In front of No.1 (Interior) Traveller, LOUlS enters from D.R.

CHULULONGKOR.N enters from D.L.

They both enter in time to '/'''US1~C, see each other, fold arms, cross to opposite sides of tb« stage snubbing each. other. CBULULONGKORN crossing up!itage of LOUIS to do so. Each rl!pt!7Us and turns running and muting c. Then. with a common impulse (at 16th bar oj music) they shahe hands.

PR.INCE. I arn sorry we nearly fought just now. LOUIS. I am too.

PRINCE [Hand on LOUIS'S shoulder]. Are you really ~oin~ away.?

LOUIS [Eases down and sli.t:hl1y to L.]. Mother plans to leave ('u the next salling.

Music fades

PRINCE [Drops down level]. 1 am not sure m.y father will allow your mother to go.

LOUIS. I am not sure whether my mother will aiiow your father not to allow her to goo

PRINCE [Anger rising, steps in]. Wby does not your mother admit that she was ·uwong"?L$"ti.cks "Jread jorward1- - -.---- o_ --

LOUIS. I don't believe that mother thinks she was wrong.

LOUIS puts his head close to PRINCE'S, almost ?Jose to TWSe, a !ipt;t second both have their fists raised, '''ink better af;( and relax.

30

SCENE IV

THE KING AND I

PRINCE [ThC!tgJhtfully, ~~se R.J. It begins to look as U people do not knuw-w-lnsriiIey ai e I igilrorwron~=:even-atrerl1lt~YrniVtq;r-own up.

LOUIS. I have noticed that too.

.\1usic re-starts

PRINCE. A puzzlement! [Crossing to R.C.] ... When I left my father a little while ago, I heard him. talking to nlrnsetr, [Sha.kes his head, crosses back to LOUIS.] He seemed uncertain about many things.

LOUIS. I don't believe grown-ups are very certain-they only talk

as if they're certain. .

PRINCE: quickly crosses 10 L.C. sings.

PRINCE.

There are times I almost think

They are not sure of what they absolutely know.

Working light out.

LOUIS. I believe they are confused

About conclusions they concLuaed long ago.

PRl NCE [A rms folded, face front].

If my father and your mother are not sure of what they absolutely know, Can you tell IDe why they fight?

Lours. They fight to prove that what they do not know is so!

PRINCE [Crossing r.oms to R.C. on music. With his fathers mam.eNs7ns.] Oh-hbhhh!

Sometimes I think that people going mad.

LOurS A- h h-h-h-h!

Son1eti:m.es I think that people. [Speaks.] -not so bad.

Warn Cues 20, 21 and No_ ] Tab.

PRINCE.

But no rn.arter- what I think. I must go on living life

And some day as a leader I must go forth, Be father to my children

And husband to each wife.

Etcetera, etcetera, and so forth.

Drops on knees. arms raised, pray,", attitude

l.OUlS.

If my lord in heaven, Buddha, show the way Every day I try to live another day.

If my lord in heaven, Buddha., show the way Every day I do my best-for one more day. But-

Is a puzzlement.

The two BOYS walk off together 1 E.R. thoughtfully. LOUIS C.S. of PR1NCE.

" Is a puzzlement ..

When stage is in B.D. and on intra. music Ior next scene, No. 1 Tab clear of set.

Cue 20, fOT fade to B.O. Open No. 1 Tab P. to O.P. Cue 21.

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ACT I-SCENE 5

Mwsic No. 19

("'Shall ] tell you what I think of you? ")

SCENE: ANNA'S bedroom.

AT RlSE: ANNA is layi'Tlg on the bed. She has started to wndress, b'!41 hfl! apparently slopped. She sits up, glares oJ a?l 1macmary adversary. Her nostriis dilate with scorn, then she Iris him ha1Je it.

N orE:-ANNA sits up on 7th bar 1'ntroductirm 'music. Bed lief C. Watc.h set 071 downstage bedpost L. Small table on which stands a lighted bed lamp is set L. oj bed. To the R. of the bed u a four-fold screen on whi.ch ANNA presets her uoollen shawl.

ANNA.

Your servant! Your servant! Indeed' I'm not your servant

(Although you g.ive IDe less than servant's pay) I'm a free and :!ndependent employe ... employee.

Because I'm a woman

You thln.k:, llk.e ev'ry worrran,

I have to be a slave or concubine-

Yon conceited, sell-indulgent libertine! ... libertine.

Rise, cross L.

How I wish I'd called him that! Right to bis facef Libe.rtine!

Turning ond facing .. him .. again. Cra5SCS D. to c .

And wh!Ie we're on the subject. sire,

There are certain goings on around this place That I wish 'to teD you I do not admire:

Steps to R.C.

] DO not like polY~arn.y

Or even m.oderate bigamy (1 realize

Tha t in. your eyes

That clearly makes a prig 0' me)

But I am from a civilized land called Wales .

Patriotic gesture.

Where rnen like you are kept in county gaols!

Eases to L.C.

In your pursuit of pleasure, you Have mistresses who treasure you (.They have no ken

of other m.en [Ease to c.]

Beside whom. they can measure yon)

A flock. of sheep and you're the only ratnNo wonder you're the wonder of Siam!

G-ross arms in time 10 music.

------~ ~- ~.-- - -~-

At first elated'by this sally, ther: a little jrightened, she crosses up 10 L. of bed. Speaks.

I'm rather glad 1 didn't say that ... Not with the women ri&ht there ... and the children.

She. sings, crossing a.ownstage and to R., viS1<olising the r.HILDRZN in their schoolroom positions_

32

SCENE V

THE XING AND I

---~- -------

The children, the children,

I'll not iorget the children,

No matter where I go I'll always see Those little faces looking up at me ..

Sits ml pO!tffe R.C.

At first, when I started to teach,

They were shy and remained out of reach, But lately I've thought

One or two have been caught

.By a word I have said } [Directed to individual

Or a sentence I've read i»14lfinary pupils_]

And I've heard an occasional question

That implied, at the least, a' suggestion

That the work I was trying to do

Was beginning to show with a few ...

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A catch in her II 0 ice .

That Prince Chulnlongkorn Is very like his father.

He's stubborn-but inquisitive and smart ...

Sudden. tears,

I must leave this place before they break my heart

Rises, crosses O.L.

I must leave this place beiore they break my heart!

She is nellO L. of the bed, she stops, bites ner lip. iooks at th.e usatch. which is hanginG or. D.S" bedpos; L. Speaks.

Goodness! I ha.d no idea it was so late.

She hitches her corset a.nd is back at the KING again. Crossing D.R. to JaNG.

Shall I tell you what I think of you?

You're spoiled! [Backs L. on interlude. Then D.R. (or

next Line.]

You're a conscientious worker

But: you're spoiled. [Backs L. on i1.terlude.) Giving credit where it's due

There Ls [Duch I like in you

But it's also very true [Cross R.] TII.at you're spoiled!

Site struts up and down imitating him.

Everybody's always bowing To the King.

Everybody has to grovel To the King.

[L.C.] .

By your Buddba you are blessed, s:»

By your ladies you're caressed, gestura.]

But the one who loves you best ( rossing D.R.]

Is the King.

-Gestrm: ----in.dicating _OJ f s ···tife "King" -.wttli tlii ",us I';, she points. thtm. crosses arms and is bac-k at c. She drops down on her knees and moves D.C.

... I

• " • ..

All that bowing and kow~towing

To remind you of your royalty, [Si.ts-J

I find a most disgusting exhibition. [Moc.k salem gesture.]

I wouldn't ask a Sramese cat

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3'3

THE KING AND I

ACT I

To dem.onstrate his loyalty

By taking this ridiculous position. lSJu: drops on her

jace.] -

She. looks up [ron! .

How would you like it if you were a man Playing the part of a toad.

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Warn Hand Bell. 1'.5.

She crawls round tUI she is facing [ront on her elbows a71 d knees to iliu strate her point.

Crawling around on your eJbows and knees, Eating the dust of the road! ...

[Sits up.]

Toads! Toads! [To KING.] All of YOUT people are toads!

Yes, Your Majesty; No, Your Majesty.

Tell us how low to go, Your Majesty;

Make some .naor e decrees, Your Majesty, Don't let us up off our knees, Your Majesty. Give us a kick, if you please Your Majesty. Give us a kick, if you wotiId, Your Majesty-

Tak-i1lg 'he" Kick," sits liP faces }t'O'1I1_

Oh! Tha was good, Your Majesty!

Site /afts flat on 11(:'1' face, po~mding th« floor i12 a fur)l. then lies doum prom. exhausted ... THIA.NG rings liz," door br:!ltimidly ... _ Bell 1'.5.

AN!'! ..... half belie:vin~ tJlal she has heard the bell. lift s her head and listens, THIANG ,-i71.g.~ again ... Bel! 1'.S.

ANNA [Sta!'tied]. Who is it:?

THIANG. Mrs. Anna, it is I, Lady Tb.iang.

ANNA [Rises. gets shawl [rorn. screen]. At this hour of the night-One moment, Lady Thiang.

ANNA opens d(J"1' , trHthng !~~I.' +.,~j,"..i....;' .cund licr shoulders as she does so. LADY TH1;\1"C enters and st rps dOW71 to u.L.C.

TRIANC. MrS. Anna, will you go to King?

ANN.'!.. Now? [THIANG nods.; Has be sent for ID.e? THIANC [Pause]. No. But he would be glad to see you.

ANNA scornful, mot'!:; away to R.

He is deeply wounded man. No one has ever spoken to hiID. as you did roday .in schoolroom.

ANNA [Crossing 10 R.C.]. Lady 'Thiang, no one has ever behaved to me as His Majesty did today in the schoolroom!

T1iJANG [Crosses R. to MRS. ANNA]. And there is rn.or e distressing thin.g.

Our agents in Singapore have found letters to British Governm.ent from certain people whose greedy eyes are on Starn, They describe King as barbarian, and su.ggest rnakin.g Siam protectorate.

ANNA [Steps ill to THIANGr That is outrageous! He is m.any things

I do not Ilke. but he is not a barbarian. nOANG. Then you win belp him? ANNA. You rnean-advise hiIn.?

THUNe [Tnctful. Eases to L.c.]. It must not sound like advice. King cannot take advice. And if you go to biIn, he will not bring up subject. You must bring it up.

A.c.;"NA [Eases R.. before speaking]. I cannot go to hiIn. It's against all my principles. Certainly not without him having asked for me.

_. ---rnl. ... N'G-U:-rosses --R':-lo -ANNA. e Wls11to-6e-new:"-blood Kiog--Wlt&-

Western ideas. But it is hard for hiIn, Mrs. Anna. [Eases to c.] And ther-e is something else-Princess Tuptim. I do not tell King this for his sake. This I will deal with in my own way. But for these other dllngs, he need help, Mrs. Anna.

THE KING AND I

ANNA [Turns to her]. He has you.

THiANG. I am Dot equal to his special needs. He could be great m:·o. BUt: he need special help. He Deed you, ..

Crosses to MRS. ANNA. touches her hands.

ANNA [Draw.s back]. Lady Tb.iang, please don't think I'm just being stubborn. But I cannot go to him. [Turns. faces off R.] I will not.

Musi« No. 20

('. Something W onde7Jul' ')

THIA!"C [Ens{'s [0 C.J. What more can I say to you? [Sings.] This is a man who thinks with his heart. His heart is not always wise,

This is a man who stumbles and falls, But this is a nun who tries.

This is a man yau°'U-fca'give and forgive. And help and protect, as long as you live , , .

Looks at ANNA.

He will Dot always say

~t you would have him say, But now and then he'D say

Smnetbin g wonderful.

The thoughtless things he'll do. Will hurt and worry yon,

Then all at once ile '11 do

Sorrrethfng wonderful.

ANNA turns into 5CCIlI!.

Warn Cues 2~:and ~3.

Varn No.1 Tab

He has a thousand dreams That: won't COIne true.

You know tJ;!.at he believes in them And that's enough for you.

You'll always g(_) along,

Defend him. when he's wrong

And tell hinl, when he's strong

He is wonderful.

He'll always need your love, [Looks directly at MRS. ANl'.iI.] And so he'll get: your love--

A rnan who needs your love

Can be wonderful.

/:I s she finishe5. 5/1t crQSUS (0 .... :xXA. Imeds at Iter jul.

..,. ~l1usic; No. 21

(Change of scene)

ANNA looks down at her, nods :0 lirr ... YI'S sh c will go." LADY THIANG smites, rises 10 her Jul. nods and begins td go out. AN.~A mo~es 1Ip to bed to get "(':~~~

NOTE:-UDY TRIANG does 7101 go cO'mpfelely affstag«, she make5 hrr :';nf througt: door of set bill $ltpS doum i nto Ones,

As LAD\' 'l'HIA':->G starts to exit. \\'hen ~o. 1 Tab is closed

\' hen c'urt;Jin lights an: in.

Cue 22 and Cfcse Ko I Tab. o ,n. to P. Clle 23.

'\'orkin~ Ji!,:ht.

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35

THE KING___AND I [CHANGE OF SCENE]

ACT r

SCENE: III [rant o] No. ] (Ju[triIJr) Traveller

;Uusic No. 22

(Reprise :-" Something WOndtllj7.ti")

The ~f.CDlItI refrain is started, LADY n-rL'I.~G starts t o cross s/ut;r.IO R. Mrrts the I'RAL.Ul('1~IE who ell/US [rom I E. R in the Hi.ann.e)' of a man. ;(·110 has bren pacing II/, tend down the hall. soorried, Tht!'V IIIut

R. of c: .

KKAl. ... .HOME [lVifh ca.grr an;rietyJ. Did you succeed? Will she go to him? THrAXG. She vvill go. She knows he needs her. Tell hfrn.

Warn Cues 24. 25. 2;j.~. 2C1.

,\Varn No. ] Tab to open P. to Cl.P .

XRAL.o.HOllolE. I will tell him she is anxious to come. I will tell hiro if Is sbe who needs him. [Slowlye:rits R.J

TH1!\NG. That also wil1 be true. [Eases R. on line with exit.] This woman knows many things but this I think she does not know.

TH)ANG picks up the lyric and sings.

She'll always go along

Defend him when he's wrong Wor-kin;; light out.

And Tell him. when he's strong

He is wonderful.

He'll always need her love And so he'll get her love

A man who needs your love

Can be wonderful. [Ex'its R. on a.pplausrcJ

On las syllable of Iasr word.

On Music change !rom" Wondedul .. to reprrse (l"hlsic No. ~3). When No.1 Tab is clear of rug.

Sue 26 on entry of MRS. A~:-IA. D.P.

Cue :14 and 25.

Open No. I Tab. P. to 0.1'. Cue 25A.

36

- __ - ----

ACT I-SCENE 6

SCENE: The lONG'S (Liln-ary) Simi".

AI R1SE: The KING has betm studying an E''i[lish bible, which lies open by a cushion arm rest L.C. His spectacles are set on Ihe bible. Both the boo.~ awd the cusliion. rest are set on a small O,·ien.lal rug. The KING is sum walking up and, down impatiently, h.e crosses from R. to L., then looks off R. [rom the steps c. He sees MRS. ANNA approachi.ng. q'l.,ickly moues down 10 the bible, puis on his spectacles and pretends 10 Y/Jsume his rcading. In a 1110mlln! ANNA enters J.-om U.R. Sh« stands at the fop of the steps. lakes in [he scene, then curtseys.

AN~A [AI top of steps]. Your MaJ.esty. [Dro_ps down below step. ske curtseys again.] Your Majesty.

The KING prettmd.!; not to hear her, He leans closer to his book. 1I1usic finishes. AKNA drops [urther downstage level with 'him, looks avcr bis shoulderce: book.

Your Majesty is reading the bible!

h':JNG [Prone on fioor, pretends great surprise). Ab! Mrs. Anna. I thin.k your Moses shall have been a fool.

ANNA. Moses?

KING [impatientZy. Sits up]. Mosesi !v.i:oses! I .. ioses! [Taps bible.] Here it stands written by hfm that the world was created in six days! [Closes bibk.] You know and I know :t took nlHDy ages to create world. I think he shall have been a fool to have written so. [To front.] What: is your opinioni'

ANNA. Your Majes'ty. the bible was not: -w-ritten by men of science, but by men of faith.

The KiNG considers Ih1S, "cmol:~s glasses, pious /ht:fll cm bible'.

It was their explanation of the mirscle of creati.on, which is 'the same miracle-wbether it took six. days or rnany centuries:

KING. HIll.

Moves as if to disagree with IJ.NNA, IAinks betl~r of if, ihtm crosses to D.R.

His impulse is to tha'llk her, buJ he camnot gille her tHis acknowledgment of her inteUigenu.

You have come to apologise?

ANNA [Drops down level with him c.], I am sorry yOUT Majesty, bulKING [Facing front]. Good! You apologlse_

ANNA. Your Majesty, I .. -.

KING. I accept!

ANNA. Your Majesty, nothing that has been said can alter the fact that, :In my country, anyone who makes B promise must ...

h':ING. Silence!

Glares at her, crosses hl>.1' to L.C. At<i'iA crosses to D.R.C. lUNG pursues his oum thoughts then crosses (0 c.

Tell me about President Ltngkong of Am.erlca. Shall Mr. Lin.gkong be _-wI.o.nin~s-wax..he.JS-fi.g,ht:ing...at . .pl'esen --.Does-ha.ha..ve-en.ou.~b..gtms1 and elephants for transporting same?

ANNA (Not quite smiling]. I don't thtn.k they have elephants in Amer-ica, Your Majeery.

KlNG. No elephants.

"N!"A sh akrs hff Mad.

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37

SCENE VI

THE KING AND I

I sha-ll send--h:iJn -some.

._-_---_-

Crosses L. picks t~p bible and spcctacles place them em dais U.L. Collects note book and prm.cil which have been set on the dais. moves on to rug. holds them out 10 ANNA.

Write letter to Mr. Lingkong. Now?

KING. Now! When else! Now is always best time. ANNA [Takes book]. Very well, Your Majesty.

KING. sits cross-legged on mat read), Jar dictati01l. ANNA crosses u.p to dais U.l •. deposits her scarf there. tfum crosses down to c. level with lUNG ready to take notes.

KING. From Phra Meha Mongut. by the blessmg of the highest super agency in the world, of the whole Universe, the King of Siam, Sovereign of all tributary countries, adjacent and around in every direction, etcetera, etcetera, etcetera. [Almost without a break, iooks up at ANNA.] Do you not have any respect for ITIe?

ANNA looks wfr [rom he" note book, tmcompre"ending.

Wby do you stand over my head? I cannot stand all the time. And in this country no one's head shall be hlgher than KIng·s. From now on in presence you shall so conduct yourseH like aU other subjects.

AI..'NA.. Yon rnean on the floor! [KI~G- nods.)

During the [otlouring speech, each time ANN" .pa.uses, l..'1.NG raises finger ready to coniinsie dictation; ANNA does not give hun the opporiu,zi.ty.

1 am sorry, Your M~jesty. I shall try very hard not to let m.y head be as high as your Ma.jesty's-but I simply cannot grovel on the floor.

I couldn't possibly work that way-or think!

KING c/lfZ7Iges position as 'f to interr-apt 111"1'.

XING rises crossing to n.R. makes R. circle turn to level with her R. Forced to compromise.

KING. You are very difficult worrran, [Front.] But you will observe care that bead sh~ never be higher than mine. If I shall sit. y,ou shall sit. If I shall kneel, you shall kneel, etcetera, etcetera,etcetera. [Three hand gestures to indicate levels.]

ANNA [Acceding, reluctantly]. Very well, Your Majesty. KING. Is promise?

ANNA. Is promise.

KING. Good.

KING sits. ANNA siis beside him, realises thai her head is hight'r '''an his, turigglrs dotc'n till her head is same leuel.

To his Royal Presidency of the United States in Axnerica Abra - hOITI Lingkong, etcetera-you fix up. It has occurred to us-

He stretches end pone. Head pointing doumstage,

It has occurred to us-

He gi.ves ANNA a signifu:.a.nt look, and she sinks prone. Both hepds ore painting doumstage.

It has occurred to us that if several pairs of young male elephants were turned loose in. Jorests of Amezica, after a while they would increaseANN·A Her -head-snaps-up3:---¥our-Majesty-just male eiephant.s-?- _.-

Their heads turn to each othe», eyes meet, th.e KING rejuscs 10 accept his bloomer,

KING. You put in details! [Rises. crosses to n.R. ANNA rises at same lime].

Tonight UlYfllind is on other matters-very 1m.portant m.atters.

ANNA [Warmly]. Anything you want to discuss with me?

38

THE KING AND I

ACT I

-~.-------- -

Krm;--[1?eacis n yes" then It;{12ks better oj il]. Wby should I discuss

important matters with wom.an?

ANNA (Rebuffed). Very well, Your Majesty. I shall go back to my room. May I say goodnight? [She curtseys.)

KING [As AN:>:A moves]. Goodnight!

ANNA moves up C., stops as ·if to speril~, then cClllmues Gross up to st('.bs, IlIc~e she stops.

ANNA. Your Majesty-

KING [Relieved thai she has broke» the impasse, he crosses up lG R.C.]. What, what, what?

ANNA [On step]. I was wondering. When the boat arrived from

Singapore yesterday-

KING [Crosses up level]. Singapore! Ha! ANNA. Was there any news from abroad'?

KING. News! Yes, there are news! They caU me a barbarian. ANNA. Wbo?

KI.NG. Certain par-ties wbo would wish to use this as excuse to steal ~' J:oun ~Sup.pose, you wer-e. Queen-Viet'oria and somebody tell you ICing of Siam is barbarian. Do you believe?

ANNII. Well,I-

KING. You will! You will! You will! You will believe that I am

barbarian-because-there is no ooe to speak otherwise.

ANNA. But this is a lie!

1{1NG [Crossing down In L.c.J. It is a false lie!

ANNA (Drops down level]. Wbat have you decided to do about it? KING [Reacts as i.f he has an. answer, tlum crosses to her], You guess>

ANNA [Smiles, realising he is bluffing turns away to R.]. Well. if someone were sending a bi~ lie about IDe to England, I should do illy best to send -the truth to England. [TU1'llS, crosses to hirn.] Is that 'What you have decided to do, Your Majesty?

KING [Eases to her, repeats bluff business]. Yes. That is what I have decided to do. But how? Yon guess how I shall do this!

.8.1'!NA [C"OSSI!S below him to L.C. then turns on le-<'elJ. Well, my guess would

be that when Sir Edward Ramsay arrives hereKING. Ramsay? Rarnsayf

ANNA. The British diplomat. ,

KING. Ah, yes-on way fr~m Singapore. [Angrily mis1.mdeYstanding her plan.) When he is here., I shall take opportunity of expressing my opinion_...[Crosses R.] of English thieves who wish to steal Siam. I shall show him who is barbarian!

ANNA is looking [roni with a i£.'I'Y [ace, lO;.;G sees t/lis and crosses back 10 her

What is this face yon put on?

ANNA, Well, Your Majesty. my guess is that you will not fight with Sir Edward.

KING. I will not?

ANNA. No, Your Majesty. You will entertain him and bis party in an especially grand manner- Then they will return to England and report to the Queen that" you are not a barbarian.

KING [Big smile, as ~r it were his own idea'): -Na'tUrally ... (Crosses n.n.] naturally! That is what I shall have intended to do.

ANNA. This is the only way to get the better of the British. Stand up to them. Put your best foot forward.

Tlie KJ"-G besuildered, raises each: [o»: in 1'11'-11, lQoks at them.

That is just an expressron, Your Majesty. It means ... dress up in your best clothes. Show them your most intelligent men, your most beautiful worn.en. Edward admires beautiful worrren ...

The Rl:"G, pu.zzletl b_v the [amiiiarrty untl: which "-''INA uses hois name, realises that she 11111.'11 Ilat'{ k1l0WH Sir Edsaard very well.

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• ScENE VI THE KING AND I

~ :kI.N,G tEases t()wards he1!). -Edwar-d?-¥ou.-calLhim-this?

ANNA. We are old friends. I knew him in Bombay, before I was married.

, T~'t! Kr~G SHddC1Jly thinks that she has had a" affair

•',",', Wtlll Sl7 Edward, and /0" the: firs! tllm feels thai

'," perhaps MRS. ANNA is human.

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KING [Steps in very dose to Iter]. Ah!

Crosses beloiu ANNA to r..c. as ANNA, Hncom/01'labll' cases to R.C. Sud-dent' tite l{JI'G tUr7lS to hC1·. -

But, shall it be proper for the British dignitary to see my women with no shoes on their feet? Shall it be proper for them to put their best bare feet forward? No! [ANNA eases U.S.R.] Sir Rrunsay will go back and tell Queen Victoria I am barbarian. \Vhy do you not think of this?

Warn Cue 27.

ANNA [Suddenly illspil'ed, crosses down to c.]. We shall dress them up, European fashiun.

KING [Crossing up let'ell You .mean ... dress them in -dr'esses.

Music No. 24

Scene (Anna and Ki11g planning party)

ANNA nods, they both start to become excited.

AN=-<A. How many wornen can I have to sew for lDe? KING. All women in kingdorn. How many dresses?

ANNA. That depends on how lUany ladies are chosen by Your

Majesty~. . _ .... '

KfNG. You shall tell me 'Which of rny women are rnosr like Europeans, for dressing like same.

H~ crosses quickly to throne table D.L. and strikes a gong. ANNA eases U_R.

Cue 27. As KJNG strikes gong.

KING, Wake up! Wake up, everybody! [Calls offinto wings D,L.] Wives!

Etcerer-s, etcetera, etcetera.! [Crosses U.L. to upstage of throne table then crosses n.n, as ANNA crosses to throne table and places her -nole book there.] I shall com mand Chinese artists to paint their faces very pale. And you shall educate them in European custom and manners for presentation. [Now at L. of u.c.]

ANNA [Crosses below KING to D.R.]. I wonder how much tiIne we shall have. [On next line cross U.R. then to R.C.]

Warn Cues 28 and 29.

KING. Sir Ramsay's gunboat last reported off Songkla. [Crosses D. to c.] How long he take depend on how many ports he call1nto. Let us say we have 'one week.

Ar.·NA [C!'ossing to c. Horrified). One week! Your Majesty,-one week! KING [Crossing up level to he,} In this time whole world was createdMoses say! [Crosses D.S. then u.s. then D.S. MRS. ANNA does the reverse.] Are there any details I do not think of so far?

ANNA [Pqces D.S. as KIl'G crosses U.S.]. You must give them a fine dinner-a European dinner.

. _ _I9NG_lStoN_u.c:: 'he~! f_ontl~ues~_~!?E2n~ !. w~~,gQ_!!J.g to.

They cross up and down scissors fashion.

A.NNA. And a ball. With music. [C"osses u.c.] K1NG. Music. [Crosses up to her.] And dancing! ANNA. Yes, Your Majesty. And dancing!

KING. Why do you not think of dancing?

THE KING AND I

ACT I

ANNA. It's an inspired idea, Your Majesty.

ICING crosses to C.R. as loNNA crosses to L.C. Now, in answer to tlte gong. th« WIVES enter' from U.L. in nightdresses, TUPTlM is first on and crosses 10 MRS .. ANNA, LADY TRlANG also enters bui is the rm.ly wife who does not WMr D, nightdress. They dress the t, side of th~ stage.

Cue 28. On entry of WIVES.

And we can give them a play. Tuptlro has written a version of Uncle Tom's Cabin.

KING. Ha! We shall g,Jve them theatrlcal perfonnance. We shalj show them who is barbarian! [To the W1VES.) Line up! Line up! Line up! [CYosses to c.]

The JOIl1: AMAZONS enter jrom U.L divide, two each. side of doorway. The WIVES form two lines L, LADY THlANG at L. oj C. ANNA crosses V.L. then to o.x,

J.,.ady TWang! On Sa~rday next, at nln.e_o'_clo_ck post; meridian,

KING tUffls, looks ,at MRS. ANNA D.~. to see if h~ has this correct. she 7Wds and Conti111.t.CS her cross upstage to u.c.

we shall give fine dinner-European dinner. [KING crosses to R.] You are to Instrnct steward durlng week he sbaD rnake eminent European cUshes for tasting.

ANNA l.S now D.C. between KING and l.ADY TWANG.

I shall taste and schoolteacher shall taste.

The ClllLDREN Im1.er from u.R.followed by the NURSES. Tile c.mLDREN form a group R. The NURSES stay up an top level two uuh side of stag~. They are slupy, and rob their eyes and yawn_ The lONG cunli1f..uts to ANNA.

Cue 29. Entry of CHILDREN.

You say who is most like European lady for dressing like same.

ANNA crosses D.L. to inspeGt WIVES. his instrw;tiUTZs to LADY TarANG. speak. the TWINS lImd one boy enter, 'the: KING and [oin croup R.

You are to make tablecloth of finest white silk for very long, table. Also mstruct court musicians to learn music of Europe for dancfn.g, etcetera.

The CHILDREN have just passed him.

What? What? What? Am I to be annoyed by chlldren at this moment?

The TWl~S have cleaTed R. but now a NURSE having ;;J:;: J~~ .. ' charge comes runninf[ aroumd him clapping her hands.

KING coniinrus As lu starts to cross in Ironf of

Who? Who? Who?

The objed oj the NURSE'S solicitude crawls be.twun tht' KING'S legs and crouches dQum c.

(MUSIC FADES.)

?drs. Anna, we must be more scientific with children!

Wam 1st and 2nd Explosion. Warn Cues aI, 32 and 33.

(ExplosiODS:=-~om _liE_~~l~ ~ _

KING walks up and down angrily from .It. to L.

For the next week, the m.en and wornen of xny Jdng,dom will work without sleeping till all is ready, and for what is not done, each man and woman shall be beaten a hundred strokes. [To LA cry TIUA.NG.] Everyone must know this, Lady TWang.

HI! picks up PRINCE bodily andplacl:s him down. n, in with the c,oup of OHLDRltN.

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SCENE VI

THE KING AND I

bove U,I---:rnnst--not be worried by'

Music No. 2S

(Fi1'cworks)

There is a tremendous repor) thai sounds like a Ca711101l and fireworks apptar 011 the backctoth, There are m .. rrnur s of surpris« and deligAt from WTVES and CHILDREN, all eyes turn upstalfC onto the backdoth. The lUNG ~lITnS U.C. as Ina second e;rplosion occurs

1st Explosion (Music No. 25).-(Boom Lights.) Follow on with Cue 31.

After five seconds:-Cue 32 for 2nd Explosion. This brings in maroon tank flashes and firework effects in that order.

LUN THI\. and PHRA ALACK enter from 2 E.R. and lake up positions upstage of CHILDREN'S groilp R. KtNG and MRS. ANNA cross upstage.

ANNA lCrossing u.L.J. Look. Your M'ajestyl KING. Fireworks! Fireworks at this hour of the lD:orning! Noone may order fireworks but me.

KRALAHOME [Rushes Q1l from Ll.L. prostrates himself before speaking]. Your Majesty-the British! The gunboat!

KING [At R. of steps]. They attack?

KRALAHOME. No! They salute, and we answer with fireworks. It is Sir Edward Ram.say and b1! party.

ANNA [Horrified]. Nowi'

KRALA.HOME. Now! They must have com.e direct from Songklah, No stops.

ANNA. No stops! Your Majesty ... I

KlNG [Crossing D. to c.]. Tell them. to go back!

We are not ready!

Cue 33. Fade sound and fireworks effect,

lCRALAHOM:E. Not ready, Your Majesty?

KING [Crosses up to him then back to D-C.J. You do nOT .know, you do not know. I had planned best idea I ever get.

ANNA [Crosses down level '!Lith KING]. Still we do it, Your MajestyYou can do it.

Music f 'ades

Warn Cue 33A.

KING. Hal When EngUsharrlve we shall put rhem-to bed.

Tomorrow m.orning we shall send thern on sightseeing trip.

He goes n.R. ANNA down c. KRALAHOME eases L.

ANNA. We shall start now, this minute. World World We have

only eighteen hour-s, but I shaH -de it somehow! .

KING [Sternly]. 1 shall do It. You shall help m.e. ANNA. Yes, Your Majesty. [Crosses L. to WIVES.]

XING [Resumes his orders, crosses to n.L. then n.R.]. No one shall sleep tonight or tomorrow. We shall work even when the sun shines in the middle of the day, We shall-

He sees a group of eight PRIESTS crossing from R. to L on "pp" leuel .

Cue 33. Entry of PRIESTS.

Ahl Priests! Corne, come. Come down.

r H.E y take up positions upsl age 1'" s'ing[e- l;m.-~_First_we .shall ~!ik help !!:Q_!!! B"Qddh~. _~2_~ to l_:!ip. Bo_~L ~o'":.~ ~o",!~ The KING kneels,

Music No. 26 (Finale Act 1)

Warn Cue 34 and Boom Iights. Warn House Tabs.

Warn Mica Bag. (Flys.)

KING [During the above repeat to MRS. ANNA]. A proxnise is a pz-ornfser

Your head shall never be hlgher than mine! A promtsel

R.8luctantly. she sinhs to 11. k1lr:ding posili(J1l (J1l his L. •

He claps his hamds as she kneels. T.ne ORCHESTRA ta.kes 1,P .. Something Wonderful,"

42

THE KING AND I

ACT I

ANNA looks at KrNG, points to hersel] .. Me?" KING nods, ANNA drops J~r head. (l\.lUSIC.) TAe KING chants. J{J~G claps hands omd niusia stops.

Oh, Buddha, give us the aid of your strength and your wiadorn. [N/usic.] ALL [Repeating chant]. Oh, Buddha, give us the aid of your strength and your wisdom.

During the above. KING signals to MRS. ANY.!., nods fa her. she kneels self-consciously.

XING [Claps hands]. And help us to prove to the visiting English that we are extraordinary and remarkable people.

ALL. And help us to prove to the visiting English that we are extraordinary and rexnarkable people.

KING [Claps hands). Help also Mrs. Anna to keep awake for scientific sewing of dresses, even. thou~h she be only a woman and a Christian, and therefore unworthy of your interest.

ANN Ii. looks ~p in surprise at the .,.en~ion of her name. crosses to lhe KING in protesl I1.S rhe full exhortation Tlnfofds. ANNA:" But y01tr Majesty" (This actitnt takes place as tke ensemble "epeat the KING'S chanl.)

ALL. Help also MrS. Anna to keep awake for scientific .sewing of dresses, even thougb she be only a 'wornan and a Christian, and therefore unworthy of your Interest;

And Buddha,

He sinks back onto his heels, Ihe whole ENSEMBLE do likeuris«.

I pr-ornlse you J shall give this unworthy wom.an a house-- [Melody ?nunc.] a house of her own-a bric.k. residence adjoining the Royal Palace, according to agreement, [Looks at ANN.A.] etcetera, etcetera, etcetera.

The ENSEMBLE take up the chant during whicll ANNA gesh'1'es .. Thank you ,. to the KING. KING looks around him, shushes her. this happens twice, then ANNA remains (a.c;ing front for the remainder of the chant.

ALL. And Buddha, I promise you I shall give this UJ]_wor:l"hy wom.an a house--a house of her own-a brick residence adjoining the Royal Palace, according to agreement, etcetera, etcetera, etcetera ..

During this repea: of the words .. etc.eJt!'J"a." fhe .KING, watchin.g that ANNA imitates him; and moving 011 the music beat, drops forward on his hands. then prrme on his [ace, then sits up "esting em his elbows. ANNA follows him through all. of this. The KING then turns on his R. sitie, rests his chin on ilis R. Iw.nd. ANI'IA imitates.

THE CURTAIN FALLS ON ACT ONE

-1st .• eeter3:";'''' 2nd" Etcetera."

CuerJ.~·s-(FestoC'-n light} for :&lica Bag-: . Cue 34 and Boom lights for Firework effects, (No Explosions:-Flashes and Projectors.'

Drop House Tabs.

3rd .. Etcetera." (On Music Cue after the actual word.) Houselights for Jnterval,

Float!! full during Interval.

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INTERV.Io.L TO BE J4 MINUTES J;.IC.LUS11-E.

1st Bar bell. Ring Orchestra 7 minutes after h[]. 2nd Bar bell, B minutes alter fall.

3'rd Bar bell. Send in Musical DirectorIl minutes af rer fall.

Green light Cue to start entractc,

Check Wipes, No.1 set P.S.

No.2 set D.P.

Verbal Cue end ofentractc.

Rouse Tabs up on Music Cue. (Music N(J. '27.)

Cue ~6_ As House Tabs !Iv.

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House lights and Hoats to B.O_