King and I

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The King and I: A Fight to Rule ROUGH DRAFT

Rodger and Hammerstein’s The King and I has dazzled audiences for more than fifty years. With elaborate sets and engaging characters, the source of success appears to be evident. However, hidden within Hammerstein’s romantic script lies the true foundation; an eternal historical pattern. The King and I uses vibrant color to mask the chronicle of government intervention and westernization in not only Siam but in many countries. Anna Leonownes, King Mongkut, and Prince Chualongkorn represent a caustic pattern of government intervention throughout history.

In the first scene of The King and I the audience is introduced to Anna, an English teacher traveling to 19th century Siam (currently Thailand). King Mongkut has invited Anna to educate his children on the civilized customs of the western world. As the King struggles to accept Anna’s teachings, his oldest son, Prince Chulalongkorn embraces them. Throughout the script Anna and the King battle for superiority until the King falls ill and dies. From his death bed, the King watches as the Prince ascends the thrown and makes his first proclamation; subjects will not grovel at the king’s feet, instead they will stand straight and proud, like Anna (Galens and Spampinato 141-4).

The Prince signifies a transfer of power from a weaker country to a dominating country; in this case Siam to Imperial England. Initially skeptical of Anna’s teachings, the Prince questions not only the existence of snow, but the miniscule size of Siam in relation to England (Hammerstein). By approaching Anna with a cautious attitude the Prince demonstrates Siam’s distrust of western teachings. The Prince soon discards his reservations and his father’s strict traditi...

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...stro fought to overthrow (Markel 45). Castro began his reign by nationalizing U.S. owned utility companies and seizing U.S. owned property, banks, and enterprises. When a U.S. embargo ravished the Cuban economy, Castro looked to other countries, such as the Soviet Union and Eastern European allies, for aid (Markel 87-9). Castro fought to gain control over Cuba and to limit outside influence on his country, just as the King in The King and I fought to preserve traditional Siam. Regardless of his affects on Cuban people, Castro succeeded.

It is easy to miss the historical relevance of The King and I, but upon closer inspection and audience will find that the musical is not meant for mere entertainment. The Prince, Anna, and the King all represent a pattern that warns of governmental intervention and the damage, and progress, interference beyond boarders can cause.

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