Kelli O’Hara and Ken Watanabe

LINCOLN CENTER THEATER

André Bishop
Producing Artistic Director
Adam Siegel Hattie K. Jutagir
Managing Director Executive Director of
Development & Planning
in association with Ambassador Theatre Group
presents

Music Book and Lyrics

Richard Rodgers Oscar Hammerstein II
based on the novel Anna and the King of Siam by Margaret Landon
with
Kelli O’Hara Ken Watanabe
Ruthie Ann Miles Ashley Park Conrad Ricamora
Edward Baker-Duly Jon Viktor Corpuz Murphy Guyer Jake Lucas Paul Nakauchi Marc Oka
and
Aaron J. Albano Adriana Braganza Amaya Braganza Billy Bustamante LaMae Caparas
Hsin-Ping Chang Andrew Cheng Lynn Masako Cheng Olivia Chun Ali Ewoldt
Ethan Halford Holder Cole Horibe MaryAnn Hu James Ignacio Misa Iwama Christie Kim
Kelvin Moon Loh Sumie Maeda Paul HeeSang Miller Betsy Morgan Rommel Pierre O’Choa
Kristen Faith Oei Autumn Ogawa Yuki Ozeki Stephanie Jae Park Diane Phelan Sam Poon William Poon
Brian Rivera Bennyroyce Royon Lainie Sakakura Ann Sanders Ian Saraceni Atsuhisa Shinomiya
Michiko Takemasa Kei Tsuruharatani Christopher Vo Rocco Wu XiaoChuan Xie Timothy Yang
Sets Costumes Lighting Sound
Michael Yeargan Catherine Zuber Donald Holder Scott Lehrer
Orchestrations Dance & Incidental Music Arranged by
Robert Russell Bennett Trude Rittmann
Casting Mindich Chair
Telsey & Company
Production Stage Manager Musical Theater Associate Producer
Abbie Brady-Dalton, CSA Jennifer Rae Moore Ira Weitzman
General Manager Production Manager Director of Marketing General Press Agent
Jessica Niebanck Paul Smithyman Linda Mason Ross Philip Rinaldi
Music Direction
Ted Sperling
Based on the
Choreography Original Choreography by
Christopher Gattelli Jerome Robbins
Directed by
Bartlett Sher
 CAST OF CHARACTERS
Anna Leonowens.................................................................................... KELLI O’HARA
The King of Siam................................................................................ KEN WATANABE
Lady Thiang................................................................................. RUTHIE ANN MILES
The Kralahome...................................................................................PAUL NAKAUCHI
Tuptim..................................................................................................... ASHLEY PARK
Lun Tha..................................................................................... CONRAD RICAMORA
Prince Chulalongkorn............................................................... JON VIKTOR CORPUZ
Louis Leonowens........................................................................................ JAKE LUCAS
Captain Orton................................................................................... MURPHY GUYER
Sir Edward Ramsey.................................................................. EDWARD BAKER-DULY
Phra Alack.................................................................................................... MARC OKA
Princess Ying Yaowalak........................................................................... CHRISTIE KIM
Royal Court Dancers.............................KRISTEN FAITH OEI, KEI TSURUHARATANI
Fan Dancers................................... ETHAN HALFORD HOLDER, AUTUMN OGAWA
Royal Wives, Townspeople............................. LAMAE CAPARAS, HSIN-PING CHANG,
ALI EWOLDT, MARYANN HU, MISA IWAMA,
SUMIE MAEDA, KRISTEN FAITH OEI, AUTUMN OGAWA,
DIANE PHELAN, LAINIE SAKAKURA, ANN SANDERS,
MICHIKO TAKEMASA, XIAOCHUAN XIE
Guards, Monks, Townspeople.......................................................... ANDREW CHENG,
COLE HORIBE, KELVIN MOON LOH, PAUL HEESANG MILLER,
ROMMEL PIERRE O’CHOA, BRIAN RIVERA, BENNYROYCE ROYON,
ATSUHISA SHINOMIYA, KEI TSURUHARATANI, CHRISTOPHER VO
Royal Children......................................... ADRIANA BRAGANZA, AMAYA BRAGANZA,
LYNN MASAKO CHENG, OLIVIA CHUN, ETHAN HALFORD HOLDER,
JAMES IGNACIO, CHRISTIE KIM, WILLIAM POON,
IAN SARACENI, ROCCO WU, TIMOTHY YANG

THE SMALL HOUSE OF UNCLE THOMAS

(BALLET)
Eliza................................................................................................... XIAOCHUAN XIE
Uncle Thomas.................................................................................... LAMAE CAPARAS
Angel/George......................................................................................... COLE HORIBE
Topsy..................................................................................................... SUMIE MAEDA
Simon of Legree.............................................................................. CHRISTOPHER VO
Little Eva.................................................................................... MICHIKO TAKEMASA
Propmen..........................................KELVIN MOON LOH, PAUL HEESANG MILLER,
MARC OKA, BRIAN RIVERA
Dogs................ AUTUMN OGAWA, BENNYROYCE ROYON, KEI TSURUHARATANI
Guards............................................. ANDREW CHENG, ROMMEL PIERRE O’CHOA,
ATSUHISA SHINOMIYA
Archers................... HSIN-PING CHANG, KRISTEN FAITH OEI, LAINIE SAKAKURA
Royal Singers......................................... ALI EWOLDT, MARYANN HU, MISA IWAMA,
DIANE PHELAN, ANN SANDERS
Swings.................................AARON J. ALBANO, BILLY BUSTAMANTE, YUKI OZEKI,
STEPHANIE JAE PARK, SAM POON
 MUSICAL NUMBERS
ACT 1
1. Overture.................................................................................................. Orchestra
Scene 1: Deck of the Chow Phya and Docks of Bangkok
2. “I Whistle a Happy Tune”.............................................................. Anna and Louis
Scene 2: The King’s Throne Room
3. “My Lord and Master”................................................................................ Tuptim
4. “Hello, Young Lovers”.................................................................................... Anna
5. “The March of the Siamese Children”...................................................... Orchestra
Scene 3: On the Palace Grounds
6. “A Puzzlement”...............................................................................................King
Scene 4: The Schoolroom
7. “The Royal Bangkok Academy”................................................Children and Wives
8. “Getting to Know You”....................................... Anna, Royal Children and Wives
The Garden
9. “We Kiss in a Shadow”........................................................... Lun Tha and Tuptim
A Palace Corridor
10. “A Puzzlement” (Reprise)...............................................Chulalongkorn and Louis
Scene 5: Anna’s Bedroom
11. “Shall I Tell You What I Think of You?”........................................................ Anna
12. “Something Wonderful”.................................................................... Lady Thiang
 ACT II
Scene 1: The Schoolroom
13. “Western People Funny”.......................................... Lady Thiang and Royal Wives
Scene 2: Dining Room and Garden
14. “I Have Dreamed”................................................................. Lun Tha and Tuptim
Scene 3: Theater Pavilion
15. “The Small House of Uncle Thomas” (Ballet)...................... Tuptim, Royal Singers
Scene 4: The King’s Study
16. “Song of the King”.........................................................................Anna and King
17. “Shall We Dance?”.........................................................................Anna and King
Scene 5: Outside the Gates of the Palace
Scene 6: The King’s Study
18. Finale Ultimo.............................................Anna, King, Louis and Chulalongkorn

ORCHESTRA
Conductor: Ted Sperling
Associate Conductor: Andrew Resnick
Music Coordinator: David Lai
Violins: Belinda Whitney (Concertmaster), Lisa Matricardi, Karl Kawahara, Louise Owen, Matthew Lehmann,
Rena Isbin, Joyce Hammann, Cenovia Cummins, Kelly Hall-Tompkins, Entcho Todorov, Katherine Livolsi-Landau,
Claire Chan; Violas: Liuh-Wen Ting, Debbie Shufelt-Dine, David Blinn, Mark Holloway
Cellos: Peter Sachon, Charles duChateau, Mairi Dorman-Phaneuf, Caryl Paisner, Sarah Hewitt-Roth
Bass: Lisa Stokes Chin, Peter Donovan, Jacqui Danilow; Flute: Elizabeth Mann
Flute 2/Piccolo: Diva Goodfriend-Koven; Oboe/English Horn: Keisuke Ikuma; Clarinets: Todd Palmer,
Shari Hoffman; Clarinet/Bass Clarinet: Christopher Cullen; Bassoon: Damian Primis; Harp: Grace Paradise
Horns: Lawrence DiBello, Adam Krauthamer, Steven Sherts; Trumpets: John Chudoba, Jason Covey,
Wayne du Maine; Trombones: Mark Patterson, Joël Vaïsse; Tuba: Morris Kainuma; Percussion: Daniel Haskins.
Produced by David Caddick, David Lai and Ted Sperling | Executive Producer:
Elizabeth Sobol | Recorded and Mixed by Isaiah Abolin | Edited by David Lai
Assistant Engineers: Fred Sladkey, Alex Neumann, James Yost | Recorded at the
DiMenna Center for Classical Music, April 19 and 20, 2015, New York, NY
Mixed at Terminus Studios, New York, NY | Mastered by Mark Wilder
at Battery Studios
Special Thanks to: Bartlett Sher, André Bishop, Ted Chapin, Bruce Pomahac, Wayne
Blood, Adam Siegel, Meghan Lantzy, Jenn Rae Moore, Rose Labarre, Ina Ubaite,
Annie Kaye, Matthew Markoff, Jim Flynn, Katy Clark, Charles Hamlen, John Glover,
Anthony Nittoli, Matt Carter, Christian Rutledge, Victoria Traube
FOR LINCOLN CENTER THEATER
Company Manager: Matthew Markoff | Assistant Company Manager: Jessica Fried
Associate General Manager: Meghan Lantzy | Management Associate: Laura Stuart
General Management Assistant: Jacob Porter | Associate Director of Marketing: Cody
Andrus | Digital Marketing Associate: Rebecca Benen | Marketing Assistant:
Julia Davis | Associate Production Manager: Shaminda Amarakoon | Production
Management Assistant: Polina Minchuk | Associate Director: Tyne Rafaeli
1st Assistant Stage Manager: Lisa Ann Chernoff | 2nd Assistant Stage Managers:
B. Bales Karlin, Katie Stevens | Cover Art: James McMullan | Cast Photos: Paul Kolnik

FUNDING CREDITS
Lincoln Center Theater is grateful to the Stacey and Eric Mindich Fund for Musical
Theater at LCT for their leading support of this production and the Musical Theater
Associate Producer’s Chair.
Major Sponsors: The Jerome L. Greene Foundation and American Express

LCT also thanks these generous contributors to THE KING AND I:

The Blanche and Irving Laurie Foundation • Florence and Robert Kaufman
The New York Community Trust - Mary P. Oenslager Foundation Fund
Stephanie and Fred Shuman • The Ted & Mary Jo Shen Charitable Gift Fund
The Henry Nias Foundation courtesy of Dr. Stanley Edelman
The National Endowment for the Arts
American Airlines is the official airline of Lincoln Center Theater.
Stock and amateur rights for Rodgers & Hammerstein’s THE KING AND I are
represented by R&H Theatricals: An Imagem Company, 229 West 28th Street,
New York, NY 10001. www.rnh.com
This production of THE KING AND I opened on Broadway at the Vivian
Beaumont Theater on April 16, 2015.

FOR UNIVERSAL MUSIC CLASSICS

A&R Coordination: Allison Joyce | A&R Administration: Evelyn Morgan
Marketing: Leslie Collman-Smith & Joseph Oerke | Production Manager:
Rafaela Hernández | Art Direction & Design: SpotCo

Ⓟ© 2015 Universal Music Classics, a Division of UMG Recordings, Inc., 1755

Broadway, New York, NY 10019. Distributed by Universal Music Distribution.
All Rights Reserved. FBI Anti-Piracy Warning: unauthorized copying is
punishable under federal law. www.universalmusicclassics.com
A S LINCOLN CENTER FOR THE PERFORMING ARTS
was being conceived – one of the largest and grandest urban renewal
plans of the 1950s – it was to be a campus housing great New York
artistic institutions. Starting with the Metropolitan Opera and the New York
Philharmonic, ballet and education were added to the mix, with the New York City
Ballet and the Juilliard School. One big piece was missing: theater. There was plenty
of theater in New York City, of course, but it was mainly “on Broadway,” which was
actually a collection of playhouses centered around Times Square that became homes
to individual shows. There were no institutions for theater that came anywhere close
to matching the history and prestige of the Met or the Philharmonic.
So the leaders of Lincoln Center decided to create one. The regional theater movement was
very present around the country, so they came up with what was to be, in essence, a New York
regional theater – but a brand new one: The Repertory Theater of Lincoln Center. “It seemed
almost unfair,” a book on the center’s history declared, “Every other constituent arrived at the
peak of its reputation. Only the Repertory Theater was still in the seedling stage. Conceived
with great expectations, born into controversy, it faced a future that demanded instant success.”
Unfair, indeed. And instant success was not in the cards. The Repertory Theater went
through many incarnations, most of which had, at best, middling success, despite the pedigree
of those chosen to lead it. In 1985, a new institution called Lincoln Center Theater was formed,
and it was the right move: twenty years after the building first opened, the Vivian Beaumont
Theater finally found viable leadership, both artistically and institutionally, capable of creating
theater productions to match the artistic excellence of the neighbors.
 But what of the musical theater? Neither opera nor theater, shouldn’t it have had a proper
home at Lincoln Center? After all, isn’t the musical one of this country’s most popular and
extraordinary indigenous art forms? Lincoln Center Theater did step into that world, with
a well received ANYTHING GOES and some interesting new shows primarily in the Mitzi
Newhouse Theater downstairs.
But there is a person whose importance to musical theater at Lincoln Center grew over
time. That person is Richard Rodgers. He was tapped to run a company designed to produce
musicals in the summertime at the New York State Theater when the Center opened. The Music
Theater of Lincoln Center, as it was called, lasted several seasons, but couldn’t sustain itself. By
1970, it was gone. Many of the shows for which Rodgers composed the music were presented
there – that was probably one of the reasons he was asked to run the place.
But Rodgers was first and foremost, a composer. And his body of work was certainly equal
to any of the major composers regularly heard around Lincoln Center.
Which brings us to THE KING AND I. Under the skillful artistic leadership of André
Bishop (ably supported by his business colleagues) Lincoln Center Theater has become simply
the premier theater in the world for Rodgers’ musicals. They alone among today’s producing
institutions understand the value of the music – using the full 29-person complement of
musicians for which THE KING AND I was written is the first indication of this. (When
they did this on SOUTH PACIFIC, it prompted a Special Tony Award® to Rodgers’ long-
time orchestrator Robert Russell Bennett.) This production marks the third extraordinary
production of a Rodgers & Hammerstein musical to be presented by Lincoln Center Theater,
and the second directed by the amazing Bartlett Sher. It should also be said that it is the second
to star the incomparable Kelli O’Hara. And as they found Paulo Szot, then unknown to New
York audiences, for Emile DeBecque, here they identified and secured the powerful Japanese
actor Ken Watanabe to conceive a King with passion, depth and humor.
Dare I say it: this production of THE KING AND I conjures the spirit of the very first
notions of theater at Lincoln Center. We now have a theater that, in performing a repertory of
great works, has repeatedly honored the work of Richard Rodgers and Oscar Hammerstein II.
CAROUSEL (1994), SOUTH PACIFIC (2008), and now THE KING AND I. The repertory
theater of Lincoln Center, indeed.
What Bartlett Sher and his fellow artists have found is the humanity, the lyricism, the truth,
the honesty, the passion, and the heart that is at the center of the piece. It is one of the great non-
love story love stories ever written. Two willful people who really care. And every audience at the
Beaumont takes the ride as new connections and observations are made through the brilliance of
this production. When Louis asks his mother, “Was he as good a king as he could have been?” and
she answers, “Louis, I don’t think any man has ever been as good a king as he could have been…
but this one tried” – it touches on the wisdom of THE KING AND I.
Every decision made in this production has been carefully considered, probed, and honored.
And the result is something that feels crystalline and clear. And gorgeous. Bart Sher’s collaborative
team has outdone itself.
The cast is a most remarkable collection of today’s most gifted artists. Kelli O’Hara was
a natural, the moment the curtain came down on her Nellie Forbush in SOUTH PACIFIC.
Rodgers & Hammerstein is in her blood, and how great that the role of Mrs. Anna was there,
waiting for her reinvention.
So welcome to THE KING AND I. Honorable guests, I beg to put before you…

Ted Chapin
President of Rodgers & Hammerstein: An Imagem Company
 I N 1862, WELSH BORN WIDOW,
ANNA LEONOWENS, and her young son, Louis,
arrive by ship in Bangkok, Siam (now known as Thailand), where
she has been engaged by King Mongkut to be schoolmistress to the Royal
children. The crowded port and the approach of the imposing Kralahome
(the Prime Minister) frighten Louis (I WHISTLE A HAPPY TUNE).
The King of Siam, in his throne room with his many wives in
attendance, is introduced to Lun Tha, a Burmese scholar sent to study the design
of a Buddhist temple. Lun Tha presents the King with a gift, the beautiful,
independent-minded young Tuptim who speaks and reads English. She has
been sent to join the King’s wives all of whom live in the Royal Palace. Tuptim
is unhappy about her new role because she is in love with Lun Tha (MY LORD
AND MASTER).
After being detained in the Palace by the Kralahome, Anna is finally
presented to the King. She reminds him of his promise to give her a house
of her own. The King denies any memory of such an agreement, which
frustrates the strong-willed Anna.
The King introduces Anna to his head wife, Lady Thiang, who also
speaks English. Tuptim asks Anna if she has any books in English which she
may read, in particular, Uncle Tom’s Cabin by Harriet Beecher Stowe, a book
about the evils of slavery in America. The King leaves the women alone.
The wives are most curious about Anna’s western clothing and background.
Anna talks of her son and her love for her late husband, Tom (HELLO,
YOUNG LOVERS).
The children of the King’s most favored wives including the heir to
the throne, Prince Chulalongkorn, are presented to Anna (THE MARCH OF THE SIAMESE
CHILDREN) who is charmed and agrees to begin teaching them despite the King’s declaration
that she must live in the Palace.
The King has been troubled by the encroachment of Western imperialism on neighboring
countries and fears that Siam will be overtaken. He begins to question his traditional thinking (A
PUZZLEMENT).
More than a year has passed and Anna is busy teaching (THE ROYAL BANGKOK
ACADEMY). The children and their mothers have impressed and delighted her (GETTING TO
KNOW YOU). During a geography lesson the children are reluctant to believe some of the new
ideas Anna brings them. The King enters and vehemently defends Anna’s teachings. Anna takes the
opportunity to remind the King about his promise to give her a house of her own. They quarrel,
as do Louis and Chulalongkorn, and Anna decides to leave Siam.
Anna’s impending departure greatly upsets Tuptim and Lun Tha, who have been meeting
furtively, with Anna as a chaperone (WE KISS IN A SHADOW). Their rendezvous is secretly
observed by Lady Thiang.
While Louis packs to leave, he and Chulalongkorn muse about their lack of understanding of
the adults’ behavior (A PUZZLEMENT Reprise). Later that night, Anna vents about the King’s
stubbornness and the subservience he expects from his subjects (SHALL I TELL YOU WHAT I
THINK OF YOU?).
Anna is then visited by Lady Thiang who asks her to help the King. He is troubled by the
approaching visit of British emissaries who view him as a barbarian. He needs Anna’s advice on
how to deal with them, but tradition and pride forbid him to ask for it. At first, Anna is reluctant to
go to the King, with whom she is still angry but Lady Thiang convinces her to go (SOMETHING
WONDERFUL).
The King, with Anna’s shrewdly worded help, decides to entertain the British dignitaries with
a European-style dinner and dance, as well as a theatrical presentation of a play written by Tuptim
inspired by Uncle Tom’s Cabin. When the British arrive earlier than expected, the King calls upon
everyone to quickly ready themselves. In a prayer to Buddha, the King resolves to give Anna the
house she has yearned for as Act One comes to an end.
Act Two begins with the wives preparing to wear the uncomfortable European dresses and shoes
Anna has instructed them to create for the dinner and performance (WESTERN PEOPLE FUNNY).
As the dinner takes place, Tuptim sneaks away to meet Lun Tha, who reveals that he has
been ordered to return to Burma immediately. They plan to run away together after Tuptim’s
performance (I HAVE DREAMED).
In the theater pavilion, Tuptim and the Royal dancers and singers present a Siamese version
of Harriet Beecher Stowe’s book (THE SMALL HOUSE OF UNCLE THOMAS). During the
presentation, an emboldened Tuptim confronts the King about slavery but is quickly put back in
her place. Afterwards, she disappears to meet Lun Tha.
Aside from the outburst from Tuptim, the King and Anna revel in the success of the evening.
The British no longer view the King as a barbarian. Anna and the King begin to share their
thoughts about relationships between men and women (SONG OF THE KING). This leads to
the King’s curiosity about Western-style dancing and Anna and the King then dance an exuberant
polka together (SHALL WE DANCE?).
The Kralahome interrupts this glorious moment with news that Tuptim has been found. She
is brought in and as the King prepares to whip her, Anna begs him not to punish her in this way
and calls him a barbarian. The King is unable to proceed with the whipping and leaves. When Lun
Tha is found dead, Anna is devastated and vows to leave Siam.
Over the next few months, the King’s health begins to decline. As Anna and Louis prepare to
leave, Lady Thiang brings her a letter from the King who is close to death.
When Anna arrives in the King’s study, the wives, children and priests are holding vigil over
the dying King. The King asks Anna to teach the children to be brave and Anna decides to stay. As
the King dies, Prince Chulalongkorn begins to proclaim a new vision for Siam, inspired by Anna’s
teachings. The Kralahome, Lady Thiang and Anna kneel by the great King’s side, paying their last
respects (FINALE ULTIMO).
Ira Weitzman
Mindich Musical Theater Associate Producer at Lincoln Center Theater
 ACT I
I Whistle a Happy Tune
ANNA
Whenever I feel afraid
I hold my head erect
And whistle a happy tune,
So no one will suspect
I’m afraid.
While shivering in my shoes
I strike a careless pose
And whistle a happy tune,
And no one ever knows
I’m afraid.
The result of this deception
Is very strange to tell,
For when I fool the people I fear
I fool myself as well!
I whistle a happy tune,
And ev’ry single time
The happiness in the tune
Convinces me that I’m
Not afraid!
Make believe you’re brave
And the trick will take you far;
You may be as brave
As you make believe you are.
ANNA AND LOUIS
You may be as brave
As you make believe you are.
LOUIS
While shivering in my shoes
I strike a careless pose
And whistle a happy tune,
And no one ever knows
I’m afraid.
ANNA & LOUIS
The result of this deception
Is very strange to tell,
For when I fool the people I fear
I fool myself as well!
I whistle a happy tune,
And ev’ry single time
The happiness in the tune
Convinces me that I’m
Not afraid!
Make believe you’re brave
And the trick will take you far;
You may be as brave
As you make believe you are.
You may be as brave
As you make believe you are.
My Lord and Master
TUPTIM
He is pleased with me!
My Lord and master
Declares he’s pleased with me—
What does he mean?
What does he know of me,
This Lord and master?
When he has looked at me
What has he seen?
Something young,
Soft and slim,
Painted cheek,
Tap’ring limb
Smiling lips
All for him,
Eyes that shine
Just for him—
So he thinks…
Just for him!
Though the man may be
My Lord and master,
Though he may study me
As hard as he can,
The smile beneath my smile
He’ll never see.
He’ll never know I love
Another man,
He’ll never know
I love another man!
Hello, Young Lovers
ANNA
When I think of Tom
I think about a night
When the earth smelled of summer
And the sky was streaked with white,
And the soft mist of England
Was sleeping on a hill,
I remember this,
And I always will…
There are new lovers now on the same silent hill,
Looking on the same blue sea,
And I know Tom and I are part of them all,
And they’re all a part of Tom and me.
Hello, young lovers,
Whoever you are,
I 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 follow your star,
Be brave and faithful and true,
Cling very close to each other tonight—
I’ve been in love like you.
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;
All of my memories
Are happy tonight,
I’ve had a love of my own.
I’ve had a love of my own,
Like yours—
I’ve had a love of my own.
A Puzzlement
KING
When I was a boy
World was better spot.
What was so was so,
What was not was not.
Now I am a man—
World have changed a lot:
Some things nearly so,
Others nearly not.
There are times I almost think
I am not sure of what I absolutely know.
Very often find confusion
In conclusion I concluded long ago.
In my head are many facts
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!
Is a puzzlement!
Shall I join with other nations in alliance?
If allies 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…
But unless some day somebody trust somebody,
There’ll be nothing left on earth excepting fishes!
There are times I almost think
Nobody sure of what he absolutely know.
Everybody find confusion
In conclusion he concluded long ago,
And it puzzle me to learn
That though a man may be in doubt of what he know,
Very quickly will he fight,
He’ll fight to prove that what he does not know is
So!
Oh-h-h-h-h-h!
Sometimes I think that people going mad!
Ah-h-h-h-h-h!
Sometimes I think that people not so bad!
But no matter what I think
I must go on living life.
As leader of my kingdom I must go forth
Be father to my children
And husband to each wife—
Etcetera, etcetera, and so forth.
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 Royal Bangkok Academy
WIVES AND CHILDREN
We work and work
From week to week
At the Royal Bangkok Academy.
And English words
Are all we speak
At the Royal Bangkok Academy.
If we pay
Attention to our teacher
And obey her every rule,
We’ll be grateful for
These golden years
At our dear old school.
The Royal Bangkok Academy,
Our dear old school.
Getting to Know You
ANNA
It’s a very ancient saying,
But a true and honest thought,
That “if you become a teacher
By your pupils you’ll be taught.”
As a teacher I’ve been learning,
(You’ll forgive me if I boast)
And I’ve now become an expert
On the subject I like most:
Getting to know you…
Getting to know you,
Getting to know all about you.
Getting to like you,
Getting to hope you like me.
Getting to know you—
Putting it my way, but nicely,
You are precisesly
My cup of tea!
Getting to know you,
Getting to feel free and easy;
When I am with you,
Getting 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.
ALL
Getting to know you,
Getting to feel free and easy;
When I am with you,
Getting 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.
ANNA
Getting to know you,
Getting to feel free and easy;
When I am with you,
Getting to know what to say—
WIVES & CHILDREN & ANNA
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

We Kiss in A Shadow
LUN THA
We kiss in a shadow,
We hide from the moon,
Our meetings are few,

Ashley Park and Conrad Ricamora

 And over too soon. LOUIS
We speak in a whisper, I have noticed that, too.
Afraid to be heard— CHULALONGKORN
When people are near ‘Tis a puzzlement!...When I left my father a little while
We speak not a word! ago, he seemed uncertain about many things.
Alone in our secret, LOUIS
Together we sigh I don’t believe grownups are ever certain—they only talk
For one smiling day to be free as if they are certain.
To kiss in the sunlight CHULALONGKORN
And say to the sky: There are times I almost think
“Behold and believe what you see! They are not sure of what they absolutely know.
Behold how my lover loves me!” LOUIS
TUPTIM I believe they are confused
We speak in a whisper, About conclusions they concluded long ago.
Afraid to be heard— CHULALONGKORN
When people are near If my father and your mother are not sure of what
We speak not a word! they absolutely know,
BOTH Can you tell me why they fight?
Alone in our secret, LOUIS
Together we sigh They fight to prove that what they do not know is so!
For one smiling day to be free CHULALONGKORN
To kiss in the sunlight Oh-h-h-h-h-h!
And say to the sky: Sometimes I think that people going mad.
“Behold and believe what you see! LOUIS
Behold how my lover loves me!” Ah-h-h-h-h-h!
Sometimes I think that people not so bad.
A Puzzlement (Reprise) CHULALONGKORN
CHULALONGKORN But no matter what I think,
It begins to look as if people do not know when they are I must go on living life
right or wrong—even after they have grown up. 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.
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—
LOUIS
Is a puzzlement.

Shall I Tell You What

I Think of You?
ANNA
Your servant! Your servant!
Indeed I’m not your servant
(Although you give me less than servant’s pay)
I’m a free and independent employé…employee.
Because I’m a woman
You think, like every woman,
I have to be a slave or concubine—
You conceited, self-indulgent libertine—
Libertine.
How I wish I’d called him that!
Right to his face!
Libertine!
And while we’re on the subject, sire,
There are certain goings on around this place
That I wish to tell you I do not admire:
I do not like polygamy

Jon Viktor Corpuz and Jake Lucas

Or even moderate bigamy
(I realize
That in your eyes
That clearly makes a prig o’ me)
But I am from a civilized land called Wales,
Where men like you are kept in county gaols.
In your pursuit of pleasure, you
Have mistresses who treasure you
(They have no ken
Of other men
Beside whom they can measure you)
A flock of sheep, and you the only ram—
No wonder you’re the wonder of Siam!
I’m rather glad I didn’t say that….Not with the women
right there…and the children.
The children, the children,
I’ll not forget the children,
No matter where I go I’ll always see
Those little faces looking up at me…
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
Or a sentence I’ve read,
And I’ve heard an occassional question
That implied, at the least, a suggestion
That the work I was trying to do
Was beginning to show with a few…
That prince Chulalongkorn
Is very like his father,
He’s stubborn—but inquistive and smart…
I must leave this place before they break my heart,
I must leave this place before they break my heart!
Goodness! I had no idea it was so late.
Shall I tell you what I think of you?
You’re spoiled!
You’re a conscientious worker
But you’re spoiled.
Giving credit where it’s due
There is much I like in you
But it’s also very true
That you’re spoiled!
Everybody’s always bowing
To the King,
Everybody has to grovel
To the King.
By your Buddha you are blessed,
By your ladies you’re caressed
But the one who loves you best
Is the King!
All that bowing and kowtowing
To remind you of your royalty,
I find a most disgusting exhibition.
I wouldn’t ask a Siamese cat
To demonstrate his loyalty
By taking this ridiculous position!
How would you like it if you were a man
Playing the part of a toad?
Crawling around on your elbows and knees,
Eating the dust in the road!... Toads! Toads!
All of your people are toads!
Yes, your majesty; no, your majesty.
Tell us how low to go, your majesty;
Make some more 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 would, your majesty—
Oh! That was good, your majesty!...
And that’s enough for you.
You’ll always go along,
Defend him when he’s wrong
And tell him, when he’s strong
He is wonderful.
He’ll always need your love—
And so he’ll get your love—
A man who needs your love
Can be wonderful!

Something Wonderful
LADY THIANG
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 man who tries.
This is a man you’ll forgive and forgive,
And help and protect, as long as you live…
He will not always say
What you would have him say,
But now and then he’ll say
Something wonderful.
The thoughtless things he’ll do
Will hurt and worry you—
Then all at once he’ll do
Something wonderful.
He has a thousand dreams
That won’t come true.
You know that he believes in them
 ACT II
Western People Funny WIVES
To bruise and pinch our little toes
LADY THIANG Our feet are cramped in leather shoes—
To prove we’re not barbarians They’d break if we had brittle toes,
They dress us up like savages! But now they only hurt!
To prove we’re not barbarians
LADY THIANG & WIVES
We wear a funny skirt!
Western people funny,
WIVES
Western people funny,
To prove we’re not barbarians
Western people funny,
They dress us up like savages!
Too funny to be true!
To prove we’re not barbarians
LADY THIANG
We wear a funny skirt!
They think they civilize us
LADY THIANG
Whenever they advise us
Western people funny,
To learn to make the same mistake
Western people funny,
That they are making too!
Western people funny,
WIVES
Of that there is no doubt.
They think they civilize us
They feel so sentimental
Whenever they advise us
About the oriental,
To learn to make the same mistake
They always try to turn us
That they are making too!
Inside down and upside out!
LADY THIANG & WIVES
WIVES
They make quite a few!
Upside out and inside down!
LADY THIANG
To bruise and pinch our little toes
I Have Dreamed
Our feet are cramped in leather shoes— LUN THA
They’d break if we had brittle toes, I have dreamed that your arms are lovely,
But now they only hurt! I have dreamed what a joy you’ll be.
I have dreamed every word you’ll whisper CHORUS
When you’re close, close to me. Small house of Uncle Thomas!
How you look in the glow of evening Small house of Uncle Thomas!
I have dreamed, and enjoy the view. Written by a woman,
In these dreams I’ve loved you so Harriet Beecher Stow-a!
That by now I think I know TUPTIM
What it’s like to be loved by you— House is in Kingdom of Kentucky, ruled by most wicked
I will love being loved by you. King in all America—Simon of Legree.
TUPTIM Your Majesty, I beg to put before you loving friends…
Alone and awake I’ve looked at the stars, Uncle Thomas!
The same that smiled on you; CHORUS
And time and again I’ve thought all the things Dear old Uncle Thomas.
That you were thinking too. TUPTIM
I have dreamed that your arms are lovely, Little Eva.
I have dreamed what a joy you’ll be. CHORUS
I have dreamed every word you’ll whisper Blessed little Eva.
When you’re close, close to me. TUPTIM
How you look in the glow of evening Little Topsy.
I have dreamed, and enjoy the view. CHORUS
BOTH Mischief-maker, Topsy.
In these dreams I’ve loved you so TUPTIM
That by now I think I know Happy people.
What it’s like to be loved by you— CHORUS
I will love being loved by you. Very happy people.
TUPTIM
The Small House Happy people.
of Uncle Thomas Happy people.
TUPTIM Your majesty, I beg to put before you one who is not
Your Majesty, and honorable guests, I beg to put before happy—the slave, Eliza.
you “Small House of Uncle Thomas”
 CHORUS CHORUS
Poor Eliza, poor Eliza, Climb, Eliza!
Poor unfortunate slave. TUPTIM
TUPTIM Hide, Eliza!
Eliza’s Lord and master CHORUS
King Simon of Legree. Hide from Simon!
She hates her Lord and master. Hide in forest.
And fears him 1ST GIRL
This king has sold her lover Poor Eliza!
To far away province of O-Hee-O 2ND GIRL
Lover’s name is George Poor Eliza!
CHORUS 3RD GIRL
George. Poor Eliza!
TUPTIM 4TH GIRL
Baby in her arms also called George. Poor Eliza!
CHORUS 5TH GIRL
George. Poor Eliza!
TUPTIM ALL GIRLS
Eliza say she run away and look for lover George. Poor Eliza!
CHORUS TUPTIM
George. Eliza very tired.
TUPTIM Your majesty, I regret to put before you King Simon of Legree.
So she bid good-bye to friends and start on her escape. Because one slave has run away
CHORUS Simon beating every slave.
Run, Eliza, run, Eliza! Simon clever man. He decide to hunt Eliza, not only
Run from Simon. with soldiers, but with scientific dogs who sniff and smell,
TUPTIM and thereby discover all who run from king.
Poor Eliza running, CHORUS
And run into a rainstorm. Run, Eliza, run!
Comes a mountain. Run, Eliza, run!
 Run from Simon, run!
Run, Eliza,
Run, run
Run, from Simon,
Run, run.
Poor Eliza
Run from Simon
Eliza, run.
Eliza, run from Simon,
Run.
Eliza, run.
TUPTIM
Poor Eliza!
CHORUS
Eliza, run from Simon,
Run!
Run, Eliza.
Run from Simon.
Run, Eliza.
Run from Simon.
Run, Eliza.
Run, run.
Ahhhhh!
TUPTIM
Eliza come to river,
Eliza come to river.
CHORUS
Poor Eliza!
TUPTIM
Who can save her?

Ruthie Ann Miles

 CHORUS Praise to Buddha!
Only Buddha, TUPTIM
Save her, Buddha, save her!... So Eliza cross the river,
What will Buddha do? Hidden by this veil of lace.
TUPTIM Forgot to tell you name of miracle—snow!
Buddha make a miracle! TUPTIM
Buddha send an angel down. Of a sudden she can see
Angel make the wind blow cold. Wicked Simon of Legree,
Make the river water hard, Sliding ‘cross the river fast,
Hard enough to walk upon. With his bloodhounds and his slaves!
CHORUS What has happened to the river?
Buddha make a miracle! What has happened to the river?
Praise to Buddha! Buddha has called out the sun!
TUPTIM TUPTIM AND CHORUS
Angel show her how to walk on frozen water. Buddha has called out the sun,
Now, as a token of his love, Sun has made the water soft.
Buddha make a new miracle. Wicked Simon and his slaves
1ST SOLO Fall in river and are drowned.
Praise to Buddha! TUPTIM
2ND SOLO On other side of river is pretty city, Canada, where Eliza
Praise to Buddha! sees lovely small house—guess who live in house?
TUPTIM Uncle Thomas.
Send from Heaven stars and blossoms. CHORUS
3RD SOLO Dear old Uncle Thomas.
Praise to Buddha! TUPTIM
TUPTIM Little Eva.
Look like lace upon the sky. CHORUS
ALL CHORUS Blessed little Eva.
Praise to Buddha! TUPTIM
Praise to Buddha! Little Topsy.
 CHORUS Poor unfortunate child!
Mischief-maker, Topsy. TUPTIM
TUPTIM Is Buddha’s wish that Eva come to him and thank him
Lover George. personally for saving of Eliza and baby. And so she die
CHORUS and go to arms of Buddha
Faithful lover George. CHORUS
TUPTIM Praise to Buddha,
Who is looking like angel to Eliza. Praise to Buddha!
They have all escaped from wicked king and make happy
reunion. Song of the King
Topsy glad that Simon die,
KING
Topsy dance for joy.
A woman is a female who is human,
I tell you what Harriet Beecher Stowa say that Topsy say:
Designed for pleasing man, the human male.
“I specks I’se de wickedest critter in de world!”
A human male is pleased by many women,
But I do not believe Topsy is a wicked critter. Because I
And all the rest you hear is fairy tale.
too am glad for death of King. Of any King who pursues
ANNA
slave who is unhappy and tries to join her lover!
Then tell me how this fairy tale began, sir.
And, Your Majesty, I wish to say to you…
You cannot call it just a poet’s trick.
Your Majesty—
Explain to me why many men are faithful,
And honorable guests…
And true to one wife only—
I will tell you end of story…
KING
Is very sad ending. Buddha has saved Eliza. But with the
They are sick!
blessings of Buddha
ANNA
Also comes sacrifice.
But you do expect women to be faithful.
CHORUS
KING
Poor little Eva,
Naturally.
Poor little Eva,
ANNA
Poor unfortunate child.
Why naturally?
Poor little Eva,
Poor little Eva,
 KING When the last little star has left the sky,
Because it is natural. It is like old Siamese rhyme. Shall we still be together
A girl must be like a blossom With our arms around each other
With honey for just one man. And shall you be my new romance?
A man must live like honey bee On the clear understanding
And gather all he can. That this kind of thing can happen,
To fly from blossom to blossom Shall we dance?
A honey bee must be free, Shall we dance? Shall we dance?
But blossom must not ever fly KING
From bee to bee to bee. Why do you stop? You dance pretty. Go on! Go on! Go on!
ANNA
Shall We Dance? Your Majesty, I-I didn’t realize I was—after all, I’m not a
dancing girl. In England we don’t—that is, a girl would
ANNA not dance while a man is looking at her.
It’s very exciting when you’re young, and you’re sitting on KING
a small gilt chair, your eyes lowered, terrified that you’ll But she will dance with strange man, holding hands,
be a wall flower. Then you see two black shoes—white etcetera, etcetera?
waistcoat—a face… It speaks. ANNA
We’ve just been introduced, Yes. Not always a strange man. Sometimes a very good
I do not know you well, friend.
But when the music started KING
Something drew me to your side. Good! We dance together. You show me. You teach! You
So many men and girls are in each other’s arms— teach! You teach!
It made me think we might be ANNA
Similarly occupied. It’s quite simple, the polka. You count, “one two three and
Shall we dance? one two three and one two three and …”
On a bright cloud of music shall we fly? Shall we dance?
Shall we dance? KING
Shall we then say “good night” and mean “good-bye”? One two three and.
Or, perchance,
 ANNA KING
On a bright cloud of music shall we fly? One two three—one two three—one, two, three–
KING What is wrong? I know! I know! I forget “And.” This time
One two three and. I remember.
ANNA BOTH
Shall we dance? One two three and, one two three and, one two three
KING and…
One two three and. ANNA
ANNA That’s splendid, Your Majesty!
Shall we then say “good night” and mean “good-bye”? KING
KING Splendid. You have thrown me off count!
One two three and. No! No! No! But this is not right! Not the way I see
Or perchance, Europeans dancing tonight.
When the last little star has left the sky— ANNA
ANNA Yes, it was. It was just like that.
Shall we still be together, KING
With our arms around each other, No! …Were not holding two hands like this.
And shall you be my new ANNA
BOTH Oh…No…as a matter of fact…
Romance? KING
ANNA Was like this. No?
On the clear understanding ANNA
That this kind of thing can happen, Yes.
BOTH KING
Shall we dance? Come!
Shall we dance?
Shall we dance? Finale Ultimo
ANNA KING
One two three, and— When you are afraid, make believe you brave.
One two three, and— You tell them how you do. You tell them. Let it be last
thing you teach. CHULALONGKORN
ANNA I…would make proclamation.
Whenever I feel afraid KING
I hold my head erect Yes, yes. What is this proclamation?
And whistle a happy tune CHULALONGKORN
So no one will suspect Regarding custom of bowing to King in fashion of a
I’m afraid. lowly toad. I do not believe this is good thing, causing
While shivering in my shoes embarrassing fatigue of body, degrading experience for
I strike a careless pose soul, etcetera, etcetera, etcetera…This is bad thing.
And whistle a happy tune I believe.
And no one ever knows KING
I’m afraid. This proclamation against bowing I believe to be
KING your fault!
You see? You make believe you brave, and you whistle. ANNA
Whistle! Oh, I hope so, Your Majesty. I do hope so.
You show them!
LOUIS
Mother…It’s the boat! It’s time! Restoration of Robert Russell Bennett’s original
CHILDREN orchestrations by Bruce Pomahac and Wayne A. Blood.
Do not go, Mrs. Anna. Please do not go.
ANNA Copyright © 2009 by Imagem, C.V.
Louis, please go down and ask Captain Orton to take Material contained herein, in a different form,
all our boxes off the ship. And have everything put back Copyright © 1951 by Richard Rodgers and Oscar
into our house. Hammerstein II, renewed.
KING International Copyright Secured. All Rights Reserved.
Silence! This is disorganized behavior for bedroom of Used by Permission.
dying King! Chulalongkorn! Rise!
Mrs. Anna, you take notes from—next King. Well, well,
well? Suppose you are King! Is there nothing you would do?
 A UNIVERSAL MUSIC COMPANY

602547376404

Ken Watanabe and Kelli O’Hara