A Star Vehicle with a Shaky Engine
The idea for the musical came from its star, Gertrude Lawrence, a legend of the London and New York stage. She and her lawyer acquired the rights to the novel 'Anna and the King of Siam' and brought the project to Richard Rodgers and Oscar Hammerstein
II. But the celebrated duo was hesitant. They preferred to make stars, not hire them, and Lawrence was an expensive and notoriously temperamental talent. More worrying was her voice. Richard Rodgers bluntly noted that her vocal range was “minimal” and she had a growing habit of singing flat. Despite these major reservations, they were captivated by what Hammerstein called her "magic light"—an undeniable stage presence they ultimately decided was worth the risk.
Finding an Unknown King
With their star in place, the creators faced another monumental hurdle: casting the King of Siam. The part was secondary to Anna's, but it needed a powerful actor. They first considered established names like Rex Harrison, who played the role in the 1946 film, and Noël Coward, but both were unavailable. The search grew desperate until Mary Martin, the star of their previous hit 'South Pacific', suggested they audition a young, largely unknown Russian-American actor named Yul Brynner. Brynner’s audition was electrifying. As Rodgers later recalled, he sat cross-legged on the stage, struck a loud chord on his guitar, and let out an “unearthly yell.” Rodgers and Hammerstein looked at each other and knew instantly: “Well, that’s it.” He was hired for a fraction of Lawrence’s salary, his name billed far below hers.
The Four-Hour Musical That Wouldn't End
When 'The King and I' finally hit the stage for its pre-Broadway tryout in New Haven, Connecticut, it was a disaster. The show was nearly four hours long, an eternity in the theater. Lawrence was suffering from laryngitis, and her already thin voice was strained. The initial reviews were concerning. One powerful backer, Leland Hayward, advised Rodgers to shut the production down immediately before it lost any more money. The creative team knew drastic changes were needed. As the show moved to Boston for another round of previews, the painful work of cutting began. Entire songs and scenes were axed, including a number for the Kralahome, whose actor quit after his only solo was removed.
Last-Minute Magic Creates a Masterpiece
In the midst of the chaos in Boston, moments of genius emerged. Rodgers and Hammerstein realized the first act was now missing something. At Lawrence’s suggestion, they decided to write a new song for Anna and the children. Rodgers repurposed a melody cut from 'South Pacific', and Hammerstein wrote new lyrics, creating the iconic “Getting to Know You.” Another key addition was the show-stopping polka, “Shall We Dance?,” which was added and polished by choreographer Jerome Robbins. This number solidified the chemistry between Anna and the King, transforming the show. By the time it reached its Broadway opening on March 29, 1951, the bloated, troubled production had been sculpted into a tight, dazzling hit. Brynner became a star overnight, and Lawrence cemented her legacy, proving that even the most celebrated classics can begin on the brink of failure.
