title: Games Workshop

text: Games Workshop produces a line of acrylic paints for painting miniatures, under the Citadel name. At the end of March 2012 the company announced a new range of over 145 colours made in the UK, which has since been expanded and reorganised. These paints are broken down into different types, each with a different intended purpose. This allows painters to follow painting guides produced by Games Workshop and create custom paint schemes more easily as each step in Games Workshop's 'Eavy Metal painting style has a paint type designed to assist in application. The 'Eavy Metal style is named after the 'Eavy Metal Team, Games Workshop's studio painting team, and is characterised by simple highlights and shadows with strong edge-highlights on all edges, creating a look that is clean, easily and quickly reproducible across many models, and defines details well on a gaming table.


title: Games Workshop

text: The line includes both metallic and non-metallic paints in the Base, Layer, Edge, Dry, and Air lines, with non-metallic paints having a matte/light-satin finish.


title: Games Workshop

text: Contrast paints were added to the Games Workshop paint range in 2019, promoted as speeding up the painting process for players. The existing range of paints was also expanded and reorganised when Contrast was released, and branding changed from "Citadel" to "Citadel Colour". The previously available Glaze line of paints was discontinued, replaced with the introduction of the Air Clear paints, the previously available Edge line of paints were combined into the Layer line, with some colours also being renamed, and the previously separate Texture line of paints was combined into the Technical line.


title: Games Workshop

text: The Citadel line also includes various other hobby supplies, including basing materials such as static grass and tufts, as well as modelling tools, such as paint brushes, glues, and hobby clippers.


title: Games Workshop

text: Several of the miniatures games (e.g. Inquisitor) involve a role-playing element; however, Games Workshop has, in the past, published role-playing games set within the Warhammer universe. "Warhammer Fantasy Roleplay" was first published in 1986; a second edition appeared in 2005 published by Black Industries, part of GW's fiction imprint BL Publishing. In 2018 a 4th edition was published by Cubicle 7 who will also re-publish the iconic Enemy Within campaign in 2020, adapted for the new edition by the original writers.


title: Games Workshop

text: "Warhammer 40,000: Dark Heresy", the first of three proposed role-playing games set in the "Warhammer 40,000" universe, was released in late January 2008 and sold out almost immediately. In September 2008 production was transferred to Fantasy Flight Games.


title: Games Workshop

text: Fantasy Flight Games subsequently published four other roleplaying games; "Rogue Trader", "Deathwatch", "Black Crusade", and "Only War", set in the same "Warhammer 40,000" universe and employing similar mechanics. In 2009 Fantasy Flight also released a new edition of "Warhammer Fantasy Roleplay".


title: Games Workshop

text: The following games are technically out of print in their original editions, but have had new versions (in some cases heavily revised and in some cases with additional game expansions) published by Fantasy Flight Games.


title: Games Workshop

text: Games Workshop had a strong history in boardgames development, alongside the miniatures and RPGs. Several may have had roleplaying elements, or had miniatures included or produced. "Spacefarers" released in 1981 was one of these board games with a set of miniature rules especially designed for use with Citadel Miniatures' figures.


title: Games Workshop

text: Licensing for an undisclosed proportion of Games Workshop's back catalogue of board games was transferred to Fantasy Flight Games as part of the same transaction which included Black Library's Role Playing Games. Fantasy Flight has republished revised editions of a number of these games. At the time of the announcement, Black Library had only one boardgame in print, the 4th Edition of "Talisman". Fantasy Flight subsequently released revised editions of Talisman and of other former Games Workshop boardgames. On September 9, 2016, Fantasy Flight Games announced the termination of its licensing agreement with Games Workshop.


title: Games Workshop

text: Games Workshop currently has several standalone board games in production. Being standalone games, they do not depend on the rules or components of the current core game systems of "Warhammer Age of Sigmar" or "Warhammer 40,000". All of these include miniatures that require some assembly, and those miniatures can be used with the core game systems.


title: Games Workshop

text: The following games are technically out of print in their original editions, but have had new versions (in all cases heavily revised and in some cases with additional game expansions) published by Fantasy Flight Games.


title: Games Workshop

text: Games Workshop licensed or produced several ZX Spectrum games in the early years, none of which were based in the usual Warhammer settings:


title: Games Workshop

text: Many video games have been produced by third parties based on the Warhammer universes owned by the firm. These include (miniature game they are based on is included in parentheses after the game name):


title: Games Workshop

text: Games Workshop released a Trading Card Game in 2017 based on the Age of Sigmar universe, Age of Sigmar: Champions. Champions featured several unique features, such as a companion online version of the game with collections being synced across both paper and digital versions. Compared to other, more traditional TCGs (Such as Magic: The Gathering) Champions also included a rotation system as a resource management and lanes for play - similar to MOBA style games such as League of Legends.


title: Games Workshop

text: There were yearly Games Day events held by Games Workshop which included the Golden Demon painting competition, news stands, sales stands, and tables to play on. In 2014 it was replaced by 'Warhammer Fest', similar but with additions such as demonstration pods and seminars.


title: Games Workshop

text: Games Workshop has run numerous "Worldwide Campaigns" for its three core game systems. In each campaign, players are invited to submit the results of games played within a certain time period. The collation of these results provides a result to the campaign's scenario, and sometime leads to modifications in the games.


title: Games Workshop

text: Each Warhammer campaign has had a new codex published with the rules for special characters or "incomplete" army lists. Below are listed the Games Workshop Worldwide Campaigns (with the campaign's fictional universe setting in parentheses):


title: Games Workshop

text: These Campaigns were run to promote its miniature wargames, and attracted interest in the hobby, particularly at gaming clubs, Hobby Centres and independent stockists. Forums for the community were created for each campaign (in addition to those on the main site), as a place to "swap tactics, plan where to post your results, or just chat about how the campaign is going." In some cases special miniatures were released to coincide with the campaigns; the promotional "Gimli on Dead Uruk-hai" miniature, for example, was available only through the campaign roadshows or ordering online. As a whole these events have been successful; one, for example, was deemed "a fantastic rollercoaster", with thousands of registered participants.


title: Games Workshop

text: Games Workshop's has published the White Dwarf magazine since 1977 and has over 400 issues. Games Workshop also published Fanatic Magazine in support of their Specialist Games range. After the cancellation of Fanatic Magazine, an electronic version, known as "Fanatic Online" was published from Games Workshop's Specialist Games website.


title: Games Workshop

text: For a brief period in the mid-1980s GW took over publication of the Fighting Fantasy magazine Warlock from Puffin Books who had produced the first 5 issues. The magazine turned into a general introductory gaming magazine but was discontinued after issue 13.


title: Games Workshop

text: There was also a fortnightly series called "Battle Games in Middle Earth", which came with a single or several free Lord of the Rings SBG miniatures. Though the miniatures were made by Games Workshop, the magazine itself was written by SGS (part of Games Workshop) and published by De Agostini.


title: Games Workshop

text: Games Workshop issued a trademark complaint against retailer Amazon, specifically relating to the novel "Spots the Space Marine", claiming it violated their European 'space marine' trademark. Commentators such as Cory Doctorow and digital rights group the Electronic Frontier Foundation, questioned the right of Games Workshop to trademark the term. On 8 February 2013, Spots the Space Marine reappeared on Amazon. Games Workshop has issued no further legal action.


title: Games Workshop

text: Games Workshop illustrators also published artbooks covering parts of their commissioned work for the company. These include Adrian Smith, Ian Miller and John Blanche.


title: Games Workshop

text: From 1997 to 2005 Black Library published "INFERNO!", a magazine of short stories, artwork, and other features set in the various fictional universes of Games Workshop, and regularly featuring that of Warhammer 40,000. Since 2010 Black Library has produced a monthly eBook called "Hammer and Bolter" with the focus on short stories set in the different Games Workshop universes.


title: Games Workshop

text: In November 1987 the English thrash metal band Sabbat released "Blood for the Blood God" as a free flexi-disc with the issue #95 of White Dwarf, Games Workshop's in-house publication.


title: Games Workshop

text: In the late 1980s the death metal band Bolt Thrower wrote lyrics dedicated to the Warhammer 40,000 universe and used 40k artwork on the cover of their second album, "Realm of Chaos".


title: Games Workshop

text: In the early 1990s Games Workshop created its own short-lived record company, Warhammer Records. The only band under this label was D-Rok (who published one album, "Oblivion", in 1991). A fragment of D-Rok's song "Get Out of My Way" was used in the computer game "Space Hulk", published by Electronic Arts in 1992.


title: Games Workshop

text: In the early 2000s the German label Art of Perception produced a 12 part soundtrack vinyl series followed by three CD compilations. The task for the artists involved in this project was to conduct a theme for a species from the Warhammer 40.000 universe.


title: Games Workshop

text: In 2009 the Singaporean death metal band, Deus Ex Machina released I, Human, which makes numerous references to the Warhammer 40,000 universe, particularly the Adeptus Mechanicus faction.


title: Games Workshop

text: In 2007 and 2015 the German death metal band Debauchery released several songs about the Chaos God Khorne, "Praise the Blood God", "True To The Skull Throne (And Bound To Kill)", and "Blood For The Blood God".


title: Games Workshop

text: Games Workshop announced that Exile Studios would produce a CGI movie based upon the "Bloodquest" graphic novel; a trailer was released, but the project was discontinued and Exile Studios disbanded.


title: Games Workshop

text: For the 25th Anniversary Games Day, Games Workshop released in 1996 (for limited sale) a short movie entitled "Inquisitor", using clips and footage that was created as a pitch to G.W. for a film deal. There were also trailers for two other films, "Hive Infestation" and "Blood for the Blood God". "Hive Infestation" pitted Space Wolf terminators against a genestealer cult infestation of a hive world. "Blood for the Blood God" was the second trailer released, and portrayed orks and Dark Angel marines fighting along with an inquisitor, much in the style of the Epic 40,000 video game cut scenes, but little information was given on this short film aside from a shot of a berserker of Khorne (available in YouTube but flagged by Games Workshop, removing the movie).


title: Games Workshop

text: Another one was Damnatus, a German fan film developed over four years. Games Workshop announced in July 2007 that they would not give permission for the film to be released because of issues between Anglo-American copyright and Continental European Droit d'auteur.


title: Games Workshop

text: In 2010 Games Workshop with Codex Pictures released a 70-minute downloadable film called "". The screenplay was written by Black Library author Dan Abnett. Terence Stamp, Sean Pertwee and John Hurt head the cast of voice actors.


title: Games Workshop

text: On 5 August 2021, Games Workshop launched Warhammer Plus, a subscription service that provides access to exclusive Warhammer-themed shows and animations, as well as other content such as classic issues of the "White Dwarf" magazine and exclusive miniatures.


title: The King and I

text: The King and I is the fifth musical by the team of Rodgers and Hammerstein. It is based on Margaret Landon's novel "Anna and the King of Siam" (1944), which is in turn derived from the memoirs of Anna Leonowens, governess to the children of King Mongkut of Siam in the early 1860s. The musical's plot relates the experiences of Anna, a British schoolteacher who is hired as part of the King's drive to modernize his country. The relationship between the King and Anna is marked by conflict through much of the piece, as well as by a love to which neither can admit. The musical premiered on March 29, 1951, at Broadway's St. James Theatre. It ran for nearly three years, making it the fourth-longest-running Broadway musical in history at the time, and has had many tours and revivals.


title: The King and I

text: In 1950, theatrical attorney Fanny Holtzmann was looking for a part for her client, veteran leading lady Gertrude Lawrence. Holtzmann realized that Landon's book would provide an ideal vehicle and contacted Rodgers and Hammerstein, who were initially reluctant but agreed to write the musical. The pair initially sought Rex Harrison to play the supporting part of the King, a role he had played in the 1946 film made from Landon's book, but he was unavailable. They settled on the young actor and television director Yul Brynner.


title: The King and I

text: The musical was an immediate hit, winning Tony Awards for Best Musical, Best Actress (for Lawrence) and Best Featured Actor (for Brynner). Lawrence died unexpectedly of cancer a year and a half after the opening, and the role of Anna was played by several actresses during the remainder of the Broadway run of 1,246 performances. A hit West End London run and U.S. national tour followed, together with a 1956 film for which Brynner won an Academy Award, and the musical was recorded several times. In later revivals, Brynner came to dominate his role and the musical, starring in a four-year national tour culminating in a 1985 Broadway run shortly before his death.


title: The King and I

text: Christopher Renshaw directed major revivals on Broadway (1996), winning the Tony Award for Best Revival, and in the West End (2000). A 2015 Broadway revival won another Tony for Best Revival. Both professional and amateur revivals of "The King and I" continue to be staged regularly throughout the English-speaking world.


title: The King and I

text: Mongkut, King of Siam, was about 57 years old in 1861. He had lived half his life as a Buddhist monk, was an able scholar, and founded a new order of Buddhism and a temple in Bangkok (paid for by his half-brother, King Nangklao). Through his decades of devotion, Mongkut acquired an ascetic lifestyle and a firm grasp of Western languages. When Nangklao died in 1850, Mongkut became king. At that time, various European countries were striving for dominance, and American traders sought greater influence in Southeast Asia. He ultimately succeeded in keeping Siam an independent nation, partly by familiarizing his heirs and harem with Western ways.


title: The King and I

text: In 1861, Mongkut wrote to his Singapore agent, Tan Kim Ching, asking him to find a British lady to be governess to the royal children. At the time, the British community in Singapore was small, and the choice fell on a recent arrival there, Anna Leonowens (1831–1915), who was running a small nursery school in the colony. Leonowens was the Anglo-Indian daughter of an Indian Army soldier and the widow of Thomas Owens, a clerk and hotel keeper. She had arrived in Singapore two years previously, claiming to be the genteel widow of an officer and explaining her dark complexion by stating that she was Welsh by birth. Her deception was not detected until long after her death, and had still not come to light when "The King and I" was written.


title: The King and I

text: Upon receiving the King's invitation, Leonowens sent her daughter, Avis, to school in England, to give Avis the social advantage of a prestigious British education, and traveled to Bangkok with her five-year-old son, Louis. King Mongkut had sought a Briton to teach his children and wives after trying local missionaries, who used the opportunity to proselytize. Leonowens initially asked for $150 in Singapore currency per month. Her additional request, to live in or near the missionary community to ensure she was not deprived of Western company, aroused suspicion in Mongkut, who cautioned in a letter, "we need not have teacher of Christianity as they are abundant here". King Mongkut and Leonowens came to an agreement: $100 per month and a residence near the royal palace. At a time when most transport in Bangkok was by boat, Mongkut did not wish to have to arrange for the teacher to get to work every day. Leonowens and Louis temporarily lived as guests of Mongkut's prime minister, and after the first house offered was found to be unsuitable, the family moved into a brick residence (wooden structures decayed quickly in Bangkok's climate) within walking distance of the palace.


title: The King and I

text: In 1867, Leonowens took a six-month leave of absence to visit her daughter Avis in England, intending to deposit Louis at a school in Ireland and return to Siam with Avis. However, due to unexpected delays and opportunities for further travel, Leonowens was still abroad in late 1868, when Mongkut fell ill and died. Leonowens did not return to Siam, although she continued to correspond with her former pupil, the new king Chulalongkorn.


title: The King and I

text: In 1950, British actress Gertrude Lawrence's business manager and attorney, Fanny Holtzmann, was looking for a new vehicle for her client when the 1944 Margaret Landon novel "Anna and the King of Siam" (a fictionalized version of Leonowens' experiences) was sent to her by Landon's agent. According to Rodgers biographer Meryle Secrest, Holtzmann was worried that Lawrence's career was fading. The 51-year-old actress had appeared only in plays, not in musicals, since "Lady in the Dark" closed in 1943. Holtzmann agreed that a musical based on "Anna and the King of Siam" would be ideal for her client, who purchased the rights to adapt the novel for the stage.


title: The King and I

text: Holtzmann initially wanted Cole Porter to write the score, but he declined. She was going to approach Noël Coward next, but happened to meet Dorothy Hammerstein (Oscar's wife) in Manhattan. Holtzmann told Dorothy Hammerstein that she wanted Rodgers and Hammerstein to create a show for Lawrence, and asked her to see that her husband read a book that Holtzmann would send over. In fact, both Dorothy Rodgers and Dorothy Hammerstein had read the novel in 1944 and had urged their husbands to consider it as a possible subject for a musical. Dorothy Hammerstein had known Gertrude Lawrence since 1925, when they had both appeared in "André Charlot's London Revue of 1924" on Broadway and on tour in North America.


title: The King and I

text: Rodgers and Hammerstein had disliked Landon's novel as a basis for a musical when it was published, and their views still held. It consists of vignettes of life at the Siamese court, interspersed with descriptions of historical events unconnected with each other, except that the King creates most of the difficulties in the episodes, and Anna tries to resolve them. Rodgers and Hammerstein could see no coherent story from which a musical could be made until they saw the 1946 film adaptation, starring Irene Dunne and Rex Harrison, and how the screenplay united the episodes in the novel. Rodgers and Hammerstein were also concerned about writing a star vehicle. They had preferred to make stars rather than hire them, and engaging the legendary Gertrude Lawrence would be expensive. Lawrence's voice was also a worry: her limited vocal range was diminishing with the years, while her tendency to sing flat was increasing. Lawrence's temperament was another concern: though she could not sing like one, the star was known to be capable of diva-like behavior. In spite of this, they admired her acting – what Hammerstein called her "magic light", a compelling presence on stage – and agreed to write the show. For her part, Lawrence committed to remaining in the show until June 1, 1953, and waived the star's usual veto rights over cast and director, leaving control in the hands of the two authors.


title: The King and I

text: Hammerstein found his "door in" to the play in Landon's account of a slave in Siam writing about Abraham Lincoln. This would eventually become the narrated dance, "The Small House of Uncle Thomas". Since a frank expression of romantic feelings between the King and Anna would be inappropriate in view of both parties' upbringing and prevailing social mores, Hammerstein wrote love scenes for a secondary couple, Tuptim, a junior wife of the King, and Lun Tha, a scholar. In the Landon work, the relationship is between Tuptim and a priest, and is not romantic. The musical's most radical change from the novel was to have the King die at the end of the musical. Also, since Lawrence was not primarily a singer, the secondary couple gave Rodgers a chance to write his usual "soaring" romantic melodies. In an interview for "The New York Times", Hammerstein indicated that he wrote the first scene before leaving for London and the West End production of "Carousel" in mid-1950; he wrote a second scene while there.


title: The King and I

text: The pair had to overcome the challenge of how to represent Thai speech and music. Rodgers, who had experimented with Asian music in his short-lived 1928 musical with Lorenz Hart titled "Chee-chee", did not wish to use actual Thai music, which American audiences might not find accessible. Instead, he gave his music an exotic flavor, using open fifths and chords in unusual keys, in ways pleasant to Western ears. Hammerstein faced the problem of how to represent Thai speech; he and Rodgers chose to convey it by musical sounds, made by the orchestra. For the King's style of speech, Hammerstein developed an abrupt, emphatic way of talking, which was mostly free of articles, as are many East Asian languages. The forceful style reflected the King's personality and was maintained even when he sang, especially in his one solo, "A Puzzlement". Many of the King's lines, including his first utterance, "Who? Who? Who?", and much of the initial scene between him and Anna, are drawn from Landon's version. Nevertheless, the King is presented more sympathetically in the musical than in the novel or the 1946 film, as the musical omits the torture and burning at the stake of Lady Tuptim and her partner.


title: The King and I

text: With Rodgers laid up with back trouble, Hammerstein completed most of the musical's book before many songs were set to music. Early on, Hammerstein contacted set designer Jo Mielziner and costume designer Irene Sharaff and asked them to begin work in coordination with each other. Sharaff communicated with Jim Thompson, an American who had revived the Thai silk industry after World War II. Thompson sent Sharaff samples of silk cloth from Thailand and pictures of local dress from the mid-19th century. One such picture, of a Thai woman in western dress, inspired the song "Western People Funny", sung by the King's chief wife, Lady Thiang, while dressed in western garb.


title: The King and I

text: Producer Leland Hayward, who had worked with the duo on "South Pacific", approached Jerome Robbins to choreograph a ballet for "The Small House of Uncle Thomas". Robbins was very enthusiastic about the project and asked to choreograph the other musical numbers as well, although Rodgers and Hammerstein had originally planned little other dancing. Robbins staged "The Small House of Uncle Thomas" as an intimate performance, rather than a large production number. His choreography for the parade of the King's children to meet their teacher ("March of the Royal Siamese Children") drew great acclaim. Robert Russell Bennett provided the orchestrations, and Trude Rittmann arranged the ballet music.


title: The King and I

text: The pair discussed having an Act 1 musical scene involving Anna and the King's wives. The lyrics for that scene proved to be very difficult for Hammerstein to write. He first thought that Anna would simply tell the wives something about her past, and wrote such lyrics as "I was dazzled by the splendor/Of Calcutta and Bombay" and "The celebrities were many/And the parties very gay/(I recall a curry dinner/And a certain Major Grey)." Eventually, Hammerstein decided to write about how Anna felt, a song which would not only explain her past and her motivation for traveling with her son to the court of Siam, but also serve to establish a bond with Tuptim and lay the groundwork for the conflict that devastates Anna's relationship with the King. "Hello, Young Lovers", the resulting song, was the work of five exhausting weeks for Hammerstein. He finally sent the lyrics to Rodgers by messenger and awaited his reaction. Hammerstein considered the song his best work and was anxious to hear what Rodgers thought of it, but no comment came from Rodgers. Pride kept Hammerstein from asking. Finally, after four days, the two happened to be talking on the phone about other matters, and at the end of the conversation, Rodgers stated, very briefly, that the lyric was fine. Josh Logan, who had worked closely with Hammerstein on "South Pacific", listened to the usually unflappable writer pour out his unhappy feelings. It was one of the few times that Hammerstein and Rodgers did not display a united front.


title: The King and I

text: Although the part of the King was only a supporting role to Lawrence's Anna, Hammerstein and Rodgers thought it essential that a well-known theatrical actor play it. The obvious choice was Rex Harrison, who had played the King in the movie, but he was booked, as was Noël Coward. Alfred Drake, the original Curly in "Oklahoma!", made contractual demands which were deemed too high. With time running short before rehearsals, finding an actor to play the King became a major concern. Mary Martin, the original Nellie Forbush in "South Pacific", suggested that her co-star in a 1946 musical set in China, "Lute Song", try for the role. Rodgers recounted the audition of the Russian-American performer, Yul Brynner:


title: The King and I

text: Brynner termed Rodgers' account "very picturesque, but totally inaccurate". He recalled that as an established television director (in CBS's "Starlight Theatre", for example), he was reluctant to go back on the stage. His wife, his agent and Martin finally convinced him to read Hammerstein's working script, and once he did, he was fascinated by the character of the King and was eager to do the project. In any case, Brynner's fierce, mercurial, dangerous, yet surprisingly sensitive King was an ideal foil for Lawrence's strong-willed, yet vulnerable Anna, and when the two finally came together in "Shall We Dance?", where the King hesitantly touches Anna's waist, the chemistry was palpable.


title: The King and I

text: Pre-rehearsal preparations began in late 1950. Hammerstein had wanted Logan to direct and co-write the book, as he had for "South Pacific", but when Logan declined, Hammerstein decided to write the entire book himself. Instead of Logan, the duo hired as director John van Druten, who had worked with Lawrence years earlier. The costume designer, Sharaff, wryly pointed the press to the incongruity of a Victorian British governess in the midst of an exotic court: "The first-act finale of "The King and I" will feature Miss Lawrence, Mr. Brynner, and a pink satin ball gown." Mielziner's set plan was the simplest of the four Rodgers and Hammerstein musicals he had worked on, with one main set (the throne room), a number of front-stage drops (for the ship and Anna's room, for example) and the entire stage cleared for "The Small House of Uncle Thomas".


title: The King and I

text: The show was budgeted at $250,000 (US$ in dollars) making it the most expensive Rodgers and Hammerstein production to that point, and prompting some mockery that costs exceeded even their expensive flop "Allegro". Investors included Hammerstein, Rodgers, Logan, Martin, Billy Rose and Hayward. The children who were cast as the young princes and princesses came from a wide range of ethnic backgrounds, including Puerto Rican or Italian, though none were Thai. Johnny Stewart was the original Prince Chulalongkorn but left the cast after only three months, replaced by Ronnie Lee. Sandy Kennedy was Louis, and Broadway veteran Larry Douglas played Lun Tha.


title: The King and I

text: Shortly before rehearsals began in January 1951, Rodgers had the first Tuptim, Doretta Morrow, sing the entire score to Lawrence, including Lawrence's own songs. Lawrence listened calmly, but when she met Rodgers and Hammerstein the following day, she treated Rodgers coldly, apparently seeing the composer's actions as flaunting her vocal deficiencies. Hammerstein and Rodgers' doubts about whether Lawrence could handle the part were assuaged by the sheer force of her acting. James Poling, a writer for "Collier's" who was allowed to attend the rehearsals, wrote of Lawrence preparing "Shall I Tell You What I Think of You?":


title: The King and I

text: At his first meeting with Sharaff, Brynner, who had only a fringe of hair, asked what he was to do about it. When told he was to shave it, Brynner was horror-struck and refused, convinced he would look terrible. He finally gave in during tryouts and put dark makeup on his shaved head. The effect was so well-received that it became Brynner's trademark.


title: The King and I

text: Lawrence's health caused her to miss several rehearsals, though no one knew what was wrong with her. When the tryout opened in New Haven, Connecticut on February 27, 1951, the show was nearly four hours long. Lawrence, suffering from laryngitis, had missed the dress rehearsal but managed to make it through the first public performance. The "Variety" critic noted that despite her recent illness she "slinks, acts, cavorts, and in general exhibits exceedingly well her several facets for entertaining", but the "Philadelphia Bulletin" printed that her "already thin voice is now starting to wear a great deal thinner". Leland Hayward came to see the show in New Haven and shocked Rodgers by advising him to close it before it went any further. Additionally, when the show left New Haven for Boston for more tryout performances, it was still at least 45 minutes too long. Gemze de Lappe, who was one of the dancers, recalled one cut that she regretted:


title: The King and I

text: This song, "Waiting", was a trio for Anna, the King, and the Kralahome (the King's prime minister). "Who Would Refuse?", the Kralahome's only solo, was also dropped. Left without a note to sing, Mervyn Vye abandoned the show and was replaced by John Juliano. "Now You Leave", a song for Lady Thiang (played by Dorothy Sarnoff in the original production), was also cut. After the cuts, Rodgers and Hammerstein felt that the first act was lacking something. Lawrence suggested that they write a song for Anna and the children. Mary Martin reminded them of a song that had been cut from "South Pacific", "Suddenly Lucky". Hammerstein wrote a new lyric for the melody, and the resulting song became "Getting to Know You". "Western People Funny" and "I Have Dreamed" were also added in Boston.


title: The King and I

text: Brynner regretted that there were not more tryout performances, feeling that the schedule did not give him an adequate opportunity to develop the complex role of the King. When he told this to Hammerstein and Rodgers, they asked what sort of performance they would get from him, and he responded, "It will be good enough, it will get the reviews."


title: The King and I

text: In 1862, a strong-willed, widowed schoolteacher, Anna Leonowens, arrives in Bangkok, Siam (later known as Thailand) at the request of the King of Siam to tutor his many children. Anna's young son, Louis, fears the severe countenance of the King's prime minister, the Kralahome, but Anna refuses to be intimidated ("I Whistle a Happy Tune"). The Kralahome has come to escort them to the palace, where they are expected to live – a violation of Anna's contract, which calls for them to live in a separate house. She considers returning to Singapore aboard the vessel that brought them, but goes with her son and the Kralahome.


title: The King and I

text: Several weeks pass, during which Anna and Louis are confined to their palace rooms. The King receives a gift from the king of Burma, a lovely slave girl named Tuptim, to be one of his many wives. She is escorted by Lun Tha, a scholar who has come to copy a design for a temple, and the two are secretly in love. Tuptim, left alone, declares that the King may own her, but not her heart ("My Lord and Master"). The King gives Anna her first audience. The schoolteacher is a part of his plan for the modernization of Siam; he is impressed when she already knows this. She raises the issue of her house with him, he dismisses her protests and orders her to talk with his wives. They are interested in her, and she tells them of her late husband, Tom ("Hello, Young Lovers"). The King presents her new pupils; Anna is to teach those of his children whose mothers are in favor with him – several dozen – and is to teach their mothers as well. The princes and princesses enter in procession ("March of the Royal Siamese Children"). Anna is charmed by the children, and formality breaks down after the ceremony as they crowd around her.


title: The King and I

text: Anna has not given up on the house, and teaches the children proverbs and songs extolling the virtues of home life, to the King's irritation. The King has enough worries without battling the schoolteacher, and wonders why the world has become so complicated ("A Puzzlement"). The children and wives are hard at work learning English ("The Royal Bangkok Academy"). The children are surprised by a map showing how small Siam is compared with the rest of the world ("Getting to Know You"). As the crown prince, Chulalongkorn, disputes the map, the King enters a chaotic schoolroom. He orders the pupils to believe the teacher but complains to Anna about her lessons about "home". Anna stands her ground and insists on the letter of her contract, threatening to leave Siam, much to the dismay of wives and children. The King orders her to obey as "my servant"; she repudiates the term and hurries away. The King dismisses school, then leaves, uncertain of his next action. Meanwhile, Lun Tha comes upon Tuptim, and they muse about having to hide their relationship ("We Kiss in a Shadow").


title: The King and I

text: In her room, Anna replays the confrontation in her mind, her anger building ("Shall I Tell You What I Think of You?"). Lady Thiang, the King's head wife, tells Anna that the King is troubled by his portrayal in the West as a barbarian, as the British are being urged to take over Siam as a protectorate. Anna is shocked by the accusations – the King is a polygamist, but he is no barbarian – but she is reluctant to see him after their argument. Lady Thiang convinces her that the King is deserving of support ("Something Wonderful"). Anna goes to him and finds him anxious for reconciliation. The King tells her that the British are sending an envoy to Bangkok to evaluate the situation. Anna "guesses" – the only guise in which the King will accept advice – that the King will receive the envoy in European style, and that the wives will be dressed in Western fashion. Tuptim has been writing a play based on a book that Anna has lent her, "Uncle Tom's Cabin", that can be presented to the guests. News is brought to the King that the British are arriving much earlier than thought, and so Anna and the wives are to stay up all night to prepare. The King assembles his family for a Buddhist prayer for the success of the venture and also promises before Buddha that Anna will receive her own house "as provided in agreement, etc., etc."


title: The King and I

text: The wives are dressed in their new European-style gowns, which they find confining ("Western People Funny"). In the rush to prepare, the question of undergarments has been overlooked, and the wives have practically nothing on underneath their gowns. When the British envoy, Sir Edward Ramsay, arrives and gazes at them through a monocle, they are panicked by the "evil eye" and lift their skirts over their heads as they flee. Sir Edward is diplomatic about the incident. When the King is called away, it emerges that Sir Edward is an old flame of Anna's, and they dance in remembrance of old times, as Edward urges her to return to British society. The King returns and irritably reminds them that dancing is for after dinner.


title: The King and I

text: As final preparations for the play are made, Tuptim steals a moment to meet with Lun Tha. He tells her he has an escape plan, and she should be ready to leave after the performance ("I Have Dreamed"). Anna encounters them, and they confide in her ("Hello, Young Lovers", reprise). The play ("Small House of Uncle Thomas", narrated ballet) is presented in a Siamese ballet-inspired dance. Tuptim is the narrator, and she tells her audience of the evil King Simon of Legree and his pursuit of the runaway slave Eliza. Eliza is saved by Buddha, who miraculously freezes a river and conceals her in snow. Buddha then causes the river to melt, drowning King Simon and his hunting party. The anti-slavery message is blunt.


title: The King and I

text: After the play, Sir Edward reveals that the British threat has receded, but the King is distracted by his displeasure at Tuptim's rebellious message. After Sir Edward leaves, Anna and the King express their delight at how well the evening went, and he presents her with a ring. Secret police report that Tuptim is missing. The King realizes that Anna knows something; she parries his inquiry by asking why he should care: Tuptim is just another woman to him. He is delighted; she is at last understanding the Siamese perspective. Anna tries to explain to him the Western customs of courtship and tells him what it is like for a young woman at a formal dance ("Shall We Dance?"). He demands that she teach him the dance. She does, and in that dance they experience and express a love for each other that they can never speak aloud. They are interrupted by the Kralahome. Tuptim has been captured, and a search is on for Lun Tha. The King resolves to punish Tuptim, though she denies she and Lun Tha were lovers. Anna tries to dissuade him, but he is determined that her influence shall not rule, and he takes the whip himself. He turns to lash Tuptim, but under Anna's gaze is unable to swing the whip, and hurries away. Lun Tha is found dead, and Tuptim is dragged off, swearing to kill herself; nothing more is heard about her. Anna asks the Kralahome to give her ring back to the King; both schoolteacher and minister state their wish that she had never come to Siam.


title: The King and I

text: Several months pass with no contact between Anna and the King. Anna is packed and ready to board a ship leaving Siam. Chulalongkorn arrives with a letter from the King, who has been unable to resolve the conflicts within himself and is dying. Anna hurries to the King's bedside and they reconcile. The King persuades her to take back the ring and to stay and assist the next king, Chulalongkorn. The dying man tells Anna to take dictation from the prince, and instructs the boy to give orders as if he were King. The prince orders the end of the custom of kowtowing that Anna hated. The King grudgingly accepts this decision. As Chulalongkorn continues, prescribing a less arduous bow to show respect for the king, his father dies. Anna kneels by the late King, holding his hand and kissing it, as the wives and children bow or curtsey, a gesture of respect to old king and new.


title: The King and I

text: "The King and I" opened on Broadway on March 29, 1951, with a wide expectation of a hit by the press and public. Both Hammerstein and Rodgers professed to be worried. The composer complained that most people were not concerned about whether the show was good, but whether it was better than "South Pacific". Even the weather cooperated: heavy rain in New York stopped in time to allow the mostly wealthy or connected opening night audience to arrive dry at the St. James Theatre. Margaret Landon, author of the book on which the musical was based, was not invited to opening night.


title: The King and I

text: Brynner turned in an outstanding performance that night, nearly stealing the show. Lawrence knew that the company was nervous because of her illnesses. The director, John van Druten, described how her opening night performance put all worries to rest: "She came on the stage with a new and dazzling quality, as if an extra power had been granted to the brilliance of her stage light. She was radiant and wonderful." The rave reviews in the newspapers lifted Lawrence's spirits, and she expected a lengthy run as Anna, first on Broadway, then in London's West End, and finally on film. Lawrence won a Tony Award for her leading role, while Brynner won the award for best featured actor. The show won the Tony for best musical, and designers Mielziner and Sharaff received awards in their categories.


title: The King and I

text: De Lappe remembered the contrast between Lawrence's indifferent singing voice and the force of her performance:


title: The King and I

text: Lawrence had not yet discovered that she was nearing death from liver cancer, and her weakened condition was exacerbated by the demands of her role. At the age of 52, she was required to wear dresses weighing while walking or dancing a total of during a 3 hour performance eight times a week. Lawrence found it hard to bear the heat in the theatre during the summer months. Her understudy, Constance Carpenter, began to replace her in matinees. Later in the year Lawrence's strength returned, and she resumed her full schedule, but by Christmas she was battling pleurisy and suffering from exhaustion. She entered the hospital for a full week of tests. Just nine months before her death, the cancer still was not detected. In February 1952, bronchitis felled her for another week, and her husband Richard Aldrich asked Rodgers and Hammerstein if they would consider closing the show for Easter week to give her a chance to recover fully. They denied his request, but agreed to replace her with the original Ado Annie from "Oklahoma!", Celeste Holm, for six weeks during the summer. Meanwhile, Lawrence's performances were deteriorating, prompting audiences to become audibly restive. Rodgers and Hammerstein prepared a letter, never delivered, advising her that "eight times a week you are losing the respect of 1,500 people". On August 16, 1952, she fainted following a matinee performance and was admitted to the NewYork–Presbyterian Hospital. She slipped into a coma and died on September 6, 1952, at the age of 54. Her autopsy revealed liver cancer. On the day of her funeral, the performance of "The King and I" was cancelled. The lights of Broadway and the West End were dimmed because of her death, and she was buried in the ball gown she wore during Act 2.


title: The King and I

text: Carpenter assumed the role of Anna and went on to play it for 620 performances. Other Annas during the run included Holm, Annamary Dickey and Patricia Morison. Although Brynner later boasted of never missing a show, he missed several, once when stagehands at the St. James Theatre accidentally struck him in the nose with a piece of scenery, another time due to appendicitis. Also, for three months in 1952 (and occasionally in 1953), Alfred Drake replaced Brynner. One young actor, Sal Mineo, began as an extra, then became an understudy for a younger prince, then an understudy and later a replacement for Crown Prince Chulalongkorn. Mineo began a close friendship and working relationship with Brynner which would last for more than a decade. Another replacement was Terry Saunders as Lady Thiang. She reprised the role in the 1956 film. The last of the production's 1,246 performances was on March 20, 1954. The run was, at the time, the fourth longest ever for a Broadway musical. A U.S. national tour began on March 22, 1954, at the Community Theatre, Hershey, Pennsylvania, starring Brynner and Morison. The tour played in 30 cities, closing on December 17, 1955, at the Shubert Theatre, Philadelphia.


title: The King and I

text: The original London production opened on October 8, 1953, at the Theatre Royal, Drury Lane, and was warmly received by both audiences and critics; it ran for 946 performances. The show was restaged by Jerome Whyte. The cast featured Valerie Hobson, in her last role, as Anna; Herbert Lom as the King; and Muriel Smith as Lady Thiang. Martin Benson played the Kralahome, a role he reprised in the film. Eve Lister was a replacement for Hobson, and George Pastell replaced Lom during the long run. "The New York Times" theatre columnist Brooks Atkinson saw the production with Lister and Pastell, and thought the cast commonplace, except for Smith, whom he praised both for her acting and her voice. Atkinson commented, ""The King and I" is a beautifully written musical drama on a high plane of human thinking. It can survive in a mediocre performance."


title: The King and I

text: The first revival of "The King and I" in New York was presented by the New York City Center Light Opera Company in April and May 1956 for three weeks, starring Jan Clayton and Zachary Scott, directed by John Fearnley, with Robbins' choreography recreated by June Graham. Muriel Smith reprised her London role of Lady Thiang, and Patrick Adiarte repeated his film role, Chulalongkorn. This company presented the musical again in May 1960 with Barbara Cook and Farley Granger, again directed by Fearnley, in another three-week engagement. Atkinson admired the purity of Cook's voice and thought that she portrayed Anna with "a cool dignity that gives a little more stature to the part than it has had before." He noted that Granger brought "a fresh point of view – as well as a full head of hair". Joy Clements played Tuptim, and Anita Darian was Lady Thiang. City Center again presented the show in June 1963, starring Eileen Brennan and Manolo Fabregas, directed by Fearnley. Clements and Darian reprised Tuptim and Thiang respectively. In the final City Center Light Opera production, Michael Kermoyan played the King opposite Constance Towers for three weeks in May 1968. Darian again played Lady Thiang. For all of these 1960s productions, Robbins' choreography was reproduced by Yuriko, who had played the role of Eliza in the original Broadway production and reprised the role in the City Center productions.


title: The King and I

text: The Music Theatre of Lincoln Center, with Rodgers as producer, presented the musical in mid-1964 at the New York State Theater, starring Risë Stevens and Darren McGavin, with Michael Kermoyan as the Kralahome. Lun Tha, Tuptim and Thiang were played by Frank Porretta, Lee Venora and Patricia Neway. Costumes were by Irene Sharaff, the designer for the original productions and the film adaptation. The director was Edward Greenberg, with the Robbins choreography again reproduced by Yuriko. This was Music Theatre's debut production, a five-week limited engagement.


title: The King and I

text: "The King and I" was revived at London's Adelphi Theatre on October 10, 1973, running for 260 performances until May 25, 1974, starring Sally Ann Howes as Anna and Peter Wyngarde as the King. Roger Redfarn directed, and Sheila O'Neill choreographed. The production, which began in June 1973 with a tour of the English provinces, earned mixed to warm reviews. Michael Billington in "The Guardian" called the revival "well played and well sung". Although he was enthusiastic about Howes as Anna, Billington thought Wyngarde "too fragile to be capable of inspiring unholy terror". He praised Redfarn's production – "whipped along at a good pace and made a sumptuous eyeful out of the interpolated ballet on 'Uncle Tom's Cabin'." Less favorably, Robert Cushman in "The Observer" thought the production "scenically and economically under-nourished". He liked Wyngarde's King ("a dignified clown") but thought Howes not formidable enough to stand up to him as Anna. He noted that "she sings beautifully and the songs are the evening's real justification".


title: The King and I

text: In early 1976, Brynner received an offer from impresarios Lee Gruber and Shelly Gross to star, in the role that he had created 25 years before, in a U.S. national tour and Broadway revival. The tour opened in Los Angeles on July 26, 1976, with Constance Towers reprising the role of Anna. On opening night, Brynner suffered so badly from laryngitis that he lip-synched, with his son Rock singing and speaking the role from the orchestra pit. The production traveled across the United States, selling out every city it appeared in and finally opening in New York at the Uris Theatre (today the Gershwin Theatre) on May 2, 1977. The production featured Martin Vidnovic as Lun Tha, and Susan Kikuchi danced the part of Eliza, recreating the role that her mother, Yuriko, had originated. Yuriko both directed the production and recreated the Robbins choreography. Sharaff again designed costumes, and Michael Kermoyan reprised the role of the Kralahome, while June Angela was Tuptim. The run lasted 696 performances, almost two years, during which each of the stars took off three weeks, with Angela Lansbury replacing Towers and Kermoyan replacing Brynner. The production was nominated for the Drama Desk Award for Outstanding Musical.


title: The King and I

text: Brynner insisted on renovations to the Uris before he would play there, stating that the theatre resembled "a public toilet". He also insisted that dressing rooms on the tour and at the Uris be arranged to his satisfaction. According to his biographer Michelangelo Capua, for years afterwards, performers thanked Brynner for having backstage facilities across the country cleaned up. " New York Times" reviewer Clive Barnes said of the revival, "The cast is a good one. Mr. Brynner grinning fire and snorting charm is as near to the original as makes little difference" and called Towers "piquantly ladylike and sweet without being dangerously saccharine". However, fellow "Times" critic Mel Gussow warned, later in the run, that "to a certain extent [Brynner] was coasting on his charisma".


title: The King and I

text: The tour was extended in 1979, after the New York run, still starring Brynner and Towers. The production then opened in the West End, at the London Palladium, on June 12, 1979, and was reported to have the largest advance sale in English history. Brynner stated, "It is not a play, it is a happening." Virginia McKenna starred in London as Anna, winning an Olivier Award for her performance. June Angela again played Tuptim, and John Bennett was the Kralahome. It ran until September 27, 1980.


title: The King and I

text: Brynner took only a few months off after the London run ended, which contributed to his third divorce; he returned to the road in early 1981 in an extended U.S. tour of the same production, which eventually ended on Broadway. Mitch Leigh produced and directed, and Robbins' choreography was reproduced by Rebecca West, who also danced the role of Simon of Legree, which she had danced at the Uris in 1977. Patricia Marand played Anna, Michael Kermoyan was again the Kralahome, Patricia Welch was Tuptim. During 1981, Kate Hunter Brown took over as Anna, continuing in the role for at least a year and a half. By 1983, Mary Beth Peil was playing Anna. On September 13, 1983, in Los Angeles, Brynner celebrated his 4,000th performance as the King; on the same day he was privately diagnosed with inoperable lung cancer, and the tour had to shut down for a few months while he received painful radiation therapy to shrink the tumor. "The Washington Post" reviewer saw Brynner's "absolutely last farewell tour" in December 1984 and wrote of the star:


title: The King and I

text: The production reached New York in January 1985, running for 191 performances at the Broadway Theatre, with Brynner, Peil, Welch and West still playing their roles. The part of Eliza was played by the leading man's fourth wife, Kathy Lee Brynner, and newcomer Jeffrey Bryan Davis played Louis. During the run, Brynner was unable to sing "A Puzzlement", due to what was announced as a throat and ear infection, but he "projected bursting vitality to the top of the balcony." He received a special Tony Award for his role as the King and had come to dominate the musical to such an extent that Peil was nominated merely for a featured actress Tony as Anna. Leigh was nominated for a Tony for his direction. "New York Times" critic Frank Rich praised Brynner but was ambivalent about the production, which he called "sluggish", writing that Brynner's "high points included his fond, paternalistic joshing with his brood in 'The March of the Siamese Children,' his dumb-show antics while attempting to force the English schoolteacher Anna to bow, and, of course, the death scene. ... The star aside, such showmanship is too often lacking in this "King and I."" The last performance was a special Sunday night show, on June 30, 1985, in honor of Brynner and his 4,625th performance of the role. Brynner died less than four months later, on October 10, 1985.


title: The King and I

text: From August 1989 to March 1990, Rudolf Nureyev played the King in a North American tour opposite Liz Robertson, with Kermoyan as the Kralahome, directed by Arthur Storch and with the original Robbins choreography. Reviews were uniformly critical, lamenting that Nureyev failed to embody the character, "a King who stands around like a sulky teenager who didn't ask to be invited to this party. ... Not even his one dance number ... goes well. ... Rodgers and Hammerstein's King [is] supposed to be a compelling personality [but Nureyev's] bears no resemblance to the man described ... in the "Something Wonderful" number. The show therefore comes across as something of a charade ... with everyone pretending to be dealing with a fearsome potentate who, in fact, is displaying very little personality at all."


title: The King and I

text: The first major revival to break away from the original staging and interpretation was an Australian production directed by Christopher Renshaw, starring Hayley Mills as Anna, in 1991. Renshaw pointedly ignored the printed stage directions in the script when reshaping the piece into what he called "an authentic Thai experience". The production had a more sinister Siamese setting, a less elegant but more forceful Anna, and a younger King (Tony Marinyo). The attraction between Anna and the King was made explicit. Renshaw "cut a few lines and lyrics, and translated others into Thai to reinforce the atmosphere of a foreign land", and all Asian roles were played by Asian actors. He also asked choreographers Lar Lubovitch and Jerome Robbins to create a "spiritual" ballet, for the King's entrance in Act 1, and a procession with a sacred white elephant in Act II. According to Renshaw, "The reds and golds were very much inspired by what we saw at the royal palace", and set and costume elements reflected images, architecture and other designs in the palace and elsewhere in Bangkok. For example, the stage was framed by columns of elephant figures, a large emerald Buddha loomed over Act I, and hundreds of elephant images were woven into the set. Renshaw said, "The elephant is regarded as a very holy creature ... they believe the spirit of Buddha often resides in the form of the elephant."


title: The King and I

text: Stanley Green, in his "Encyclopedia of the Musical Theatre", viewed the central theme of "The King and I" as "the importance of mutual understanding between people of differing ethnic and cultural backgrounds", but Renshaw felt the musical suffered from 1950s attitudes when "Orientalism was used as an exoticism rather than a real understanding of the particular culture." He stated that his production was informed by authentic Thai cultural, aesthetic and religious ideas that he learned from visiting Thailand. A feature in "Playbill" commented that the production focused on the "clash of ideologies and cultures, of East versus West". Theatre arts professor Eileen Blumenthal, however, called the production "a "King and I" for the age of political correctness". While she acknowledged that the musical's treatment of Asian cultures had come to be viewed as insensitive over the decades since its premiere, she argued that Rodgers and Hammerstein's script was more sensitive than most orientalist literature of its day, in that "West learns from East as well as the other way around", and that, moreover, the musical's treatment of its Asian subject is fantastical, not intended to be realistic. She concluded that the show is a documentary of "who we've been" in the West, and that "The King and I" should not be suppressed, because it is "too good".


title: The King and I

text: The production was reproduced on Broadway, opening on April 11, 1996, at the Neil Simon Theatre, starring Donna Murphy as Anna, who won a Tony Award for her performance, and Lou Diamond Phillips as the King, with Randall Duk Kim as the Kralahome, Jose Llana as Lun Tha, Joohee Choi as Tuptim and Taewon Yi Kim as Lady Thiang. Jenna Ushkowitz made her Broadway debut as one of the children. The production was nominated for eight Tony Awards, winning best revival and three others, with acting nominations for Phillips and Choi, who each won Theatre World Awards, and seven Drama Desk Awards, winning for Outstanding Revival of a Musical; Renshaw won for his direction. The production was praised for "lavish ... sumptuous" designs by Roger Kirk (costumes) and Brian Thomson (sets), who both won Tony and Drama Desk Awards for their work. Faith Prince played the role of Anna later in the run, followed by Marie Osmond. The revival ran on Broadway for 780 performances, and Kevin Gray replaced Phillips. The production then toured in the U.S., starring Mills and Victor Talmadge. Other Annas on this tour included Osmond, Sandy Duncan, Stefanie Powers and Maureen McGovern, who ended the tour in Chicago in June 1998.


title: The King and I

text: The production opened on May 3, 2000, at the London Palladium, directed by Renshaw and choreographed by Lubovitch, and using the Kirk and Thomson designs. It reportedly took in £8 million in advance ticket sales. The cast included Elaine Paige as Anna and Jason Scott Lee as the King, with Sean Ghazi as Luan Tha and Ho Yi as the Kralahome. Lady Thiang was, again, played by Taewon Yi Kim, of whom "The Observer" wrote, "Her 'Something Wonderful' was just that." The show was nominated for an Olivier Award for outstanding musical. Later in the run, Lee was replaced as the King by Paul Nakauchi. The revival was generally well received. "The Daily Mirror" said: ""The King and I" waltzed back to the West End in triumph last night." The "Daily Express" observed, "Love it or loathe it, "The King and I" is an unstoppable smash." "Variety", however, noted a lack of chemistry between the leads, commenting that "there’s something not entirely right in Siam when the greatest applause is reserved for Lady Thiang". Replacements included Josie Lawrence as Anna, Keo Woolford as the King and Saeed Jaffrey as the Kralahome. The show closed on January 5, 2002. It toured the UK in 2002 and 2003, with Stefanie Powers and then Marti Webb as Anna and Ronobir Lahiri as the King.


title: The King and I

text: Another U.S. national tour began in mid-2004, directed by Baayork Lee (who appeared in the original production at age 5), with choreography by Susan Kikuchi, reproducing the Robbins original. Sandy Duncan again starred as Anna, while Martin Vidnovic played the King. He had played Lun Tha in the 1977 Broadway production and voiced the King in the 1999 animated film. Stefanie Powers took over for Duncan throughout 2005. Near the end of the tour in November 2005, "Variety" judged that Lee had successfully "harnessed the show's physical beauty and its intrinsic exotic flavor."


title: The King and I

text: Jeremy Sams directed, and Kikuchi choreographed, a limited engagement of the musical in June 2009 at the Royal Albert Hall in London. It starred Maria Friedman and Daniel Dae Kim. A U.K. national tour starred Ramon Tikaram as the King and Josefina Gabrielle as Anna, directed by Paul Kerryson, with choreography by David Needham. It opened in December 2011 in Edinburgh and continued into May 2012.


title: The King and I

text: In June 2014, Théâtre du Châtelet in Paris presented an English-language production of "The King and I" directed by Lee Blakeley and starring Susan Graham, who was "close to perfection as Anna", Lambert Wilson, "also excellent as the king", and Lisa Milne as Lady Thiang. "The New York Times" called it "a grand new staging that has set French critics searching for superlatives." The Renshaw production was revived again in April 2014 by Opera Australia for performances in Sydney, Melbourne and Brisbane, directed by Renshaw and featuring Lisa McCune and Teddy Tahu Rhodes. Some critics questioned anew the portrayal of the Siamese court as barbaric and asked why a show where "the laughs come from the Thai people mis-understanding British ... culture" should be selected for revival.


title: The King and I

text: A fourth Broadway revival began previews on March 12 and opened on April 16, 2015, at the Vivian Beaumont Theater. The production was directed by Bartlett Sher and starred Kelli O'Hara as Anna and Ken Watanabe, as the King, in his American stage debut. It featured Ruthie Ann Miles as Lady Thiang, Paul Nakauchi as the Kralahome, Ashley Park as Tuptim, Conrad Ricamora as Lun Tha, Jake Lucas as Louis Leonowens, and Edward Baker-Duly as Sir Edward Ramsey. Choreography by Christopher Gattelli was based on the original Jerome Robbins dances. The designers included Michael Yeargan (sets), Catherine Zuber (costumes) and Donald Holder (lighting). Reviews were uniformly glowing, with Ben Brantley of "The New York Times" calling it a "resplendent production", praising the cast (especially O'Hara), direction, choreographer, designs and orchestra, and commenting that Sher "sheds a light [on the vintage material] that isn't harsh or misty but clarifying [and] balances epic sweep with intimate sensibility." The production was nominated for nine Tony Awards, winning four, including Best Revival of a Musical, Best Leading Actress (for O'Hara), Best Featured Actress (for Miles) and best costume design (for Zuber), and won the Drama Desk Award for Outstanding Revival. Replacements for the King included Jose Llana Hoon Lee and Daniel Dae Kim. Replacements for Anna included Marin Mazzie. The revival closed on June 26, 2016, after 538 performances. A U.S. national tour of the production began in November 2016. The cast included Laura Michelle Kelly as Anna, Llana as the King and Joan Almedilla as Lady Thiang. The production was reproduced at the London Palladium from June through September 2018. O'Hara and Watanabe reprised their roles, with Naoko Mori and Ruthie Ann Miles sharing the role of Lady Thiang, Na-Young Jeon as Tuptim, Dean John-Wilson as Lun Tha and Takao Osawa as the Kralahome. It was nominated for 6 Olivier Awards, including Best Musical Revival. The production was filmed and shown in theatres in late 2018.


title: The King and I

text: "The King and I" continues to be a popular choice for productions by community theatres, school and university groups, summer camps and regional theatre companies.


title: The King and I

text: The musical was filmed in 1956 with Brynner re-creating his role opposite Deborah Kerr. The film was nominated for nine Academy Awards and won five, including Best Actor for Brynner, with Kerr nominated for Best Actress. Sharaff won for best costume design. The film was directed by Walter Lang (who was also nominated for an Oscar) and choreographed by Robbins. Marni Nixon dubbed the singing voice of Anna, and Rita Moreno played Tuptim. Saunders as Thiang, Adiarte as Chulalongkorn and Benson as the Kralahome reprised their stage roles, as did dancers Yuriko and de Lappe. Alan Mowbray appeared in the new role of the British Ambassador, while Sir Edward Ramsey (demoted to the Ambassador's aide) was played by Geoffrey Toone. The movie's script was faithful to the stage version, although it cut a few songs; reviews were enthusiastic. Thomas Hischak, in his "The Rodgers and Hammerstein Encyclopedia", states: "It is generally agreed that the [movie] is the finest film adaptation of any R & H musical". Thai officials judged the film offensive to their monarchy and banned both film and musical in 1956.


title: The King and I

text: A non-musical 1972 TV comedy series, starring Brynner, was broadcast in the U.S. by CBS but was cancelled in mid-season after 13 episodes. It followed the main storyline of the musical, focusing on the relationship between the title characters. Samantha Eggar played "Anna Owens", with Brian Tochi as Chulalongkorn, Keye Luke as the Kralahome, Eric Shea as Louis, Lisa Lu as Lady Thiang, and Rosalind Chao as Princess Serena. The first episode aired on September 17, 1972, and the last aired on December 31, 1972. Margaret Landon was unhappy with this series and charged the producers with "inaccurate and mutilated portrayals" of her literary property; she unsuccessfully sued for copyright infringement.


title: The King and I

text: "Jerome Robbins' Broadway" was a Broadway revue, directed by Robbins, showcasing scenes from some of his most popular earlier works on Broadway. The show ran from February 1989 to September 1990 and won six Tony Awards, including best musical. It featured "Shall We Dance" and "The Small House of Uncle Thomas" ballet, with Kikuchi as Eliza. Yuriko was the choreographic "reconstruction assistant".


title: The King and I

text: Rich Animation Studios, Morgan Creek Productions and Warner Bros. Pictures released a 1999 animated film adaptation of the musical. Except for using some of the songs and characters, the story is unrelated to the Rodgers and Hammerstein version. Geared towards children, the adaptation includes cuddly animals, including a dragon. Voices were provided by Miranda Richardson as Anna (speaking), Christiane Noll as Anna (singing), Martin Vidnovic as the King, Ian Richardson as the Kralahome and Adam Wylie as Louis. Hischak dislikes the film but praises the vocals, adding that one compensation of the film is hearing Barbra Streisand sing a medley of "I Have Dreamed", "We Kiss in a Shadow" and "Something Wonderful", which is borrowed from Streisand's 1985 "The Broadway Album" and played under the film's closing credits. He expressed surprise "that the Rodgers & Hammerstein Organization allowed it to be made" and noted that "children have enjoyed "The King and I" for five decades without relying on dancing dragons". Ted Chapin, president of that organization, has called the film his biggest mistake in granting permission for an adaptation.


title: The King and I

text: In his music, Rodgers sought to give some of the music an Asian flavor. This is exhibited in the piercing major seconds that frame "A Puzzlement", the flute melody in "We Kiss in a Shadow", open fifths, the exotic 6/2 chords that shape "My Lord and Master", and in some of the incidental music. The music for "The Small House of Uncle Thomas" was for the most part written not by Rodgers, but by dance music arranger Trude Rittmann, though "Hello, Young Lovers" and a snatch of "A Puzzlement" are quoted within it.


title: The King and I

text: Before Rodgers and Hammerstein began writing together, the AABA form for show tunes was standard, but many of the songs in "The King and I" vary from it. "I Have Dreamed" is an almost continuous repetition of variations on the same theme, until the ending, when it is capped by another melody. The first five notes (an eighth note triplet and two half notes) of "Getting to Know You" also carry the melody all the way through the refrain. According to Mordden, this refusal to accept conventional forms "is one reason why their frequently heard scores never lose their appeal. They attend to situation and they unveil character, but also, they surprise you."


title: The King and I

text: According to Rodgers' biographer William Hyland, the score for "The King and I" is much more closely tied to the action than that of "South Pacific", "which had its share of purely entertaining songs". For example, the opening song, "I Whistle a Happy Tune", establishes Anna's fear upon entering a strange land with her small son, but the merry melody also expresses her determination to keep a stiff upper lip. Hyland calls "Hello, Young Lovers" an archetypical Rodgers ballad: simple, with only two chords in the first eight bars, but moving in its directness.


title: The King and I

text: The original cast recording of "The King and I" was released by Decca Records in 1951. While John Kenrick admires it for the performances of the secondary couple, Larry Douglas and Doretta Morrow, and for the warmth of Lawrence's performance, he notes that "Shall We Dance" was abridged, and there are no children's voices – the chorus in "Getting to Know You" is made up of adults. In 2000, the recording was inducted into the Grammy Hall of Fame. Later in the same year Patrice Munsel and Robert Merrill made the first studio recording of selections from the musical. Hischak comments that in the 1953 London cast album, Valerie Hobson's vocals were no stronger than Lawrence's and that the highlight is Muriel Smith's "Something Wonderful" in a disc with too many cuts. He calls Anna's songs "well served" by Marni Nixon's singing in the 1956 film soundtrack and judges the recording as vocally satisfying; Kenrick describes it as a "mixed bag": he is pleased that it includes several songs cut from the film, and he praises Nixon's vocals, but he dislikes the supporting cast and suggests watching the movie instead for its visual splendor.


title: The King and I

text: Kenrick prefers the 1964 Lincoln Center cast recording to the earlier ones, especially approving of the performances of Risë Stevens as Anna and Patricia Neway as Lady Thiang. The recording, for the first time, included the narrated ballet music for "The Small House of Uncle Thomas". Because a single LP limited a single-disc album to about fifty minutes, its inclusion required the absence of some of the other numbers. Kenrick finds the recording of the 1977 Broadway revival cast to be "[e]asily the most satisfying "King & I" on CD". He judges it to be Brynner's best performance, calling Towers "great" and Martin Vidnovic, June Angela and the rest of the supporting cast "fabulous", though lamenting the omission of the ballet. Hischak, in contrast, says that some might prefer Brynner in his earlier recordings, when he was "more vibrant". Kenrick enjoys the 1992 Angel studio recording mostly for the Anna of Julie Andrews, who he says is "pure magic" in a role she never performed on stage. Kenrick praises the performance of both stars on the 1996 Broadway revival recording, calling Lou Diamond Phillips "that rarity, a King who can stand free of Brynner's shadow". Hischak finds the soundtrack to the 1999 animated film with Christiane Noll as Anna and Martin Vidnovic as the King, as well as Barbra Streisand singing on one track, more enjoyable than the movie itself, but Kenrick writes that his sole use for that CD is as a coaster.


title: The King and I

text: Opening night reviews of the musical were strongly positive. Richard Watts in the "New York Post" termed it "<nowiki>[a]</nowiki>nother triumph for the masters". Critic John Mason Brown stated, "They have done it again." "The New York Times" drama critic Brooks Atkinson wrote: "This time Messrs. Rodgers and Hammerstein are not breaking any fresh trails, but they are accomplished artists of song and words in the theater; and "The King and I" is a beautiful and lovable musical play." Barely less enthusiastic was John Lardner in "The New Yorker", who wrote, "Even those of us who find <nowiki>[the Rodgers and Hammerstein musicals]</nowiki> a little too unremittingly wholesome are bound to take pleasure in the high spirits and technical skill that their authors, and producers, have put into them." Otis Guernsey wrote for the "New York Herald Tribune", "Musicals and leading men will never be the same after last night ... Brynner set an example that will be hard to follow ... Probably the best show of the decade.


title: The King and I

text: The balance of opinion among the critics of the original London production was generally favorable, with a few reservations. In "The Observer", Ivor Brown predicted that the piece would "settle down for some years at Drury Lane." The anonymous critic of "The Times" compared the work to Gilbert and Sullivan: "Mr. Rodgers charmingly echoes Sullivan in the king's more topsy-turvy moments; and Mr. Hammerstein attends very skilfully to the lurking Gilbertian humour." Less favorably, in the "Daily Express", John Barber called the work "this treacle-bin "Mikado"", and declared that only one of the cast, Muriel Smith, could really sing.


title: The King and I

text: In 1963, "New York Times" reviewer Lewis Funke said of the musical, "Mr. Hammerstein put all of his big heart into the simple story of a British woman's adventures, heartaches, and triumphs. ... A man with a world-view, he seized the opportunity provided by [Landon's book] to underscore his thoughts on the common destiny of humanity." Fourteen years later, another "Times" reviewer, Clive Barnes, called the musical "unsophisticated and untroubled. Even its shadows are lightened with a laugh or a sweetly sentimental tear ... we can even be persuaded to take death as a happy ending".


title: The King and I

text: The reworked 1996 Broadway production received mixed reviews. Vincent Canby of "The New York Times" disliked it: "This latest "King and I" might look like a million dollars as a regional production; on Broadway ... it's a disappointment. The score remains enchanting but, somewhere along the line, there has been a serious failure of the theatrical imagination." But Liz Smith enthused: ""The King and I" is perfect"; and the "Houston Chronicle" wrote, of the subsequent tour, ""The King and I" is the essence of musical theater, an occasion when drama, music, dance and decor combine to take the audience on an unforgettable journey." Critic Richard Christiansen in the "Chicago Tribune" observed, of a 1998 tour stop at the Auditorium Theatre: "Written in a more leisurely and innocent and less politically correct period, <nowiki>[</nowiki>"The King and I"<nowiki>]</nowiki> cannot escape the 1990s onus of its condescending attitude toward the pidgin English monarch and his people. And its story moves at a pace that's a mite too slow for this more hurried day and age." When the production reached London in 2000, however, it received uniformly positive reviews; the "Financial Times" called it "a handsome, spectacular, strongly performed introduction to one of the truly great musicals".


title: The King and I

text: The 2015 Broadway revival initially received uniformly glowing reviews. Ben Brantley of "The New York Times" called it a "resplendent production" and commented:


title: The King and I

text: Marilyn Stasio, in "Variety", termed the production "sumptuous" and "absolutely stunning". She noted a "still pertinent theme: the dissonant dynamic when Western civilization tries to assert its values on ancient Eastern cultures." In "USA Today", Elysa Gardner wrote of the grins and tears evoked by the production. "[W]atching these people from vastly different cultures carefully but joyfully reach for common ground ... can be almost unbearably moving. ... [Rodgers and Hammerstein's] textured humanity and appeals for tolerance, like their shimmering scores, only gain resonance as time passes." The production's attempts to achieve historical accuracy and explore the work's dark themes with a modern sensibility led some reviewers to conclude that it succeeds at converting the musical's orientalism into "a modern critique of racism and sexism". Other commentators, however, such as composer Mohammed Fairouz, argued that an attempt at sensitivity in production cannot compensate for "the inaccurate portrayal of the historic King Mongkut as a childlike tyrant and the infantilization of the entire Siamese population of the court", which demonstrate a racist subtext in the piece, even in 1951 when it was written. Benjamin Ivry opined that "the Rodgers and Hammerstein organization should shelve the [musical] as a humanitarian gesture toward Southeast Asian history and art".


title: Jane Foster (Marvel Cinematic Universe)

text: Jane Foster is a fictional character in the film and television franchise Marvel Cinematic Universe (MCU) portrayed by Natalie Portman. Based on the character of the same name from Marvel Comics created by Stan Lee, Larry Lieber, and Jack Kirby.


title: Jane Foster (Marvel Cinematic Universe)

text: Foster appears in "Thor" (2011), "" (2013), and "" (2022), where she becomes the Mighty Thor. Alternate versions of Foster appear in "" (2019) and the animated television series "What If...?" (2021).


title: Jane Foster (Marvel Cinematic Universe)

text: Although Portman's performance was praised, the character received mixed reception from the first two "Thor" films, though her portrayal in "Thor: Love and Thunder" as the Mighty Thor was better received and is considered by many to be one of the highlights of the film.


title: Jane Foster (Marvel Cinematic Universe)

text: The comic book character, Jane Foster, first appeared in "Journey into Mystery" #84 (September 1962), and was created by plotter Stan Lee, scripter Larry Lieber and penciler Jack Kirby. Named "Jane Nelson" in her first two appearances, she went on to appear as the love interest of Dr. Donald Blake, the secret identity of the Norse god superhero Thor, in nearly every issue through #136 (Jan. 1967) of the title, by then renamed "Thor".


title: Jane Foster (Marvel Cinematic Universe)

text: Natalie Portman was cast as Foster in July 2009. When asked why she took the role for "Thor", Portman replied, "I just thought it sounded like a weird idea because Kenneth Branagh's directing it, so I was just like, 'Kenneth Branagh doing "Thor" is super-weird, I've gotta do it. On October 13, 2011, Marvel confirmed that Portman would return to star in "Thor: The Dark World". Her role as the character in "Thor: Love and Thunder" was confirmed in July 2019, as well as a storyline including her becoming the character Mighty Thor.


title: Jane Foster (Marvel Cinematic Universe)

text: Portman stated that she really wanted to do a big effects film that emphasized character, and getting to do it with Branagh was a new way of approaching it, relative to "Star Wars". Regarding her preparation for the role Portman remarked, "I signed on to do it before there was a script. And Ken, who's amazing, who is so incredible, was like, 'You can really help create this character'. I got to read all of these biographies of female scientists like Rosalind Franklin who actually discovered the DNA double helix but didn't get the credit for it. The struggles they had and the way that they thought – I was like, 'What a great opportunity, in a very big movie that is going to be seen by a lot of people, to have a woman as a scientist'. She's a very serious scientist. Because in the comic she's a nurse and now they made her an astrophysicist. Really, I know it sounds silly, but it is those little things that makes girls think it's possible. It doesn't give them a [role] model of 'Oh, I just have to dress cute in movies'".


title: Jane Foster (Marvel Cinematic Universe)

text: Speaking to the character's role in "Thor: The Dark World", producer Kevin Feige said, "[W]hile Thor was a fish out of water on Earth in the first two films ("Thor" and "The Avengers"), this time Jane is very much a fish out of water in Asgard." Portman added, "It was a whole different adventure this time. Because Jane is the fish out of water. I didn't want to make it like "Bill & Ted", or like a valley girl dumped into Shakespeareland." Portman also said the film finds Jane at a different place in her life, "Jane has moved, so she's now in London, not in Santa Fe anymore. Obviously she has gone through missing Thor and also being upset at him because he didn't come knock on her door when he was on her planet. She's definitely been getting over that and trying to move on." Hemsworth's wife Elsa Pataky stood in for Portman during the post-credits kissing scene due to a scheduling conflict.


title: Jane Foster (Marvel Cinematic Universe)

text: In "", Foster is undergoing cancer treatment while becoming the superhero the Mighty Thor, gaining a costume and powers similar to Thor's due to wielding a reconstructed version of his hammer Mjolnir. Portman, who did not appear in the previous film "" (2017), agreed to return after a meeting with director Taika Waititi, who said Foster's return to Thor's life after eight years would be a big adjustment for him since she has had another life without him. Waititi added that Foster showing up dressed like Thor would be a "real mindfuck" for him.


title: Jane Foster (Marvel Cinematic Universe)

text: Astrophysicist Dr. Jane Foster, her assistant Darcy Lewis, and mentor Dr. Erik Selvig find the Asgardian Thor in New Mexico, where he has landed after being cast out of Asgard. Thor and Foster develop a mutual attraction, as Thor seeks his hammer. After Thor returns to Asgard to confront Loki, Foster and her team search for a way to open a portal to Asgard.


title: Jane Foster (Marvel Cinematic Universe)

text: In London, Foster and Lewis travel to an abandoned factory where portals to another dimension have appeared, disrupting the laws of physics around them. Separating from the group, Foster is teleported to another world, where, beyond Heimdall's near all-seeing vision, she absorbs the Aether. Heimdall alerts Thor, leading him to Earth. When Thor finds Foster, she inadvertently releases an unearthly force, and Thor returns with her to Asgard. Odin, recognizing the Aether, warns that the Aether will not only kill Foster but that its return heralds a catastrophic prophecy.


title: Jane Foster (Marvel Cinematic Universe)

text: Dark elf Malekith, awakened by the Aether's release, attacks Asgard. During the battle, Malekith and Algrim search for Foster, sensing that she contains the Aether. Thor's mother Frigga is fatally stabbed protecting Foster, and Malekith and Algrim are forced to flee without Foster. Despite Odin's orders not to leave Asgard, Thor reluctantly enlists the help of Loki, who knows of a secret portal to Svartalfheim, where they will use Foster to lure and confront Malekith, away from Asgard. In return, Thor promises Loki vengeance on Malekith for killing their mother. With Volstagg and Sif stalling Asgardian soldiers and Fandral assisting their escape, Thor, Loki, and Foster head to Svartalfheim. There, Loki tricks Malekith into drawing the Aether out of Foster, but Thor's attempt to destroy the exposed substance fails. Thor and Foster discover another portal in a nearby cave and reunite in London with Lewis and Foster's mentor Dr. Erik Selvig—who was briefly institutionalized due to the mental trauma he suffered during Loki's attack on Earth. They learn that Malekith plans to restore the Dark Elves to dominance by unleashing the Aether at the center of the Convergence in Greenwich. After Thor battles and defeats Malekith, Foster and Thor reunite on Earth. Eventually in 2018 she became a victim of the Blip, caused by Thanos, until she was resurrected by Hulk five years later.


title: Jane Foster (Marvel Cinematic Universe)

text: Eight years after breaking up with Thor, Foster has been diagnosed with terminal cancer. With medical treatment proving ineffective, she travels to New Asgard hoping that Thor's hammer Mjolnir, which was previously destroyed by Hela, might heal her. Due to an enchantment Thor unknowingly placed on it years earlier to protect Foster, Mjolnir reforges and bonds itself to her. Thor, arriving in New Asgard to counter an attack by Gorr the God Butcher, is surprised to find Foster wielding Mjolnir, but nevertheless teams up with her, New Asgard's king Valkyrie, and Korg to fight Gorr. The group thwarts Gorr, but he escapes, kidnapping several Asgardian children and imprisoning them in the Shadow Realm.


title: Jane Foster (Marvel Cinematic Universe)

text: The group travels to Omnipotence City, a realm that is home to many gods, to warn them and ask for their help. The leader of the gods, Zeus, fears Gorr and is unwilling to help, thinking they can remain safe and hidden from Gorr in the city. Zeus orders the group's capture to prevent them from exposing Omnipotence City's location to Gorr, but they fight Zeus's forces and escape. As the journey continues, Thor and Foster rekindle their romantic relationship and Foster reveals her illness. The group travels to the Shadow Realm to save the children. However, this turns out to be a trap for Gorr to take Thor's axe, Stormbreaker, in order to open the Bifrost and enter the realm of Eternity, who can grant his wish to destroy all gods.


title: Jane Foster (Marvel Cinematic Universe)

text: Drained of her strength each time she uses Mjolnir, Foster is warned that using it once more will likely kill her. Thor persuades Foster to let him fight Gorr alone while she recuperates. When Foster senses that Gorr is about to kill Thor, she makes the ultimate sacrifice in joining the battle with Mjolnir to save him. They destroy the Necrosword, but the three are brought into Eternity's realm. After Thor implores Gorr to revive his daughter instead of destroying the gods, he leaves Gorr to decide while he attends to Foster, who succumbs to her illness in Thor's arms after they have completely made their peace with each other. Moved by their display, Gorr wishes for Eternity to revive his daughter, Love, which it grants. Foster's spirit then arrives at the gates of Valhalla, where Heimdall welcomes her to the afterlife and thanks her for helping save his son.


title: Jane Foster (Marvel Cinematic Universe)

text: Foster briefly appears in "", in a scene in which a time-traveling Thor and Rocket come to Asgard during the events of "Thor: The Dark World" to obtain the Reality Stone. Thor is preoccupied with his personal depression, which his mother, Frigga, confronts him over, while Rocket uses a device to extract the Reality Stone from Foster.


title: Jane Foster (Marvel Cinematic Universe)

text: In a universe where Loki was returned to the Frost Giants and Thor was raised as an only child, Thor travels to Las Vegas to start a party, inviting humans, Asgardians, and aliens alike. Astrophysicist Foster warns the government, but upon meeting Thor, she grows close to him. After S.H.I.E.L.D. director Nick Fury is incapacitated, Maria Hill confronts Foster due to her warning. As more aliens arrive, including the now-adult Prince Loki and several other Frost Giants, and Thor starts throwing destructive parties worldwide, Hill calls in Carol Danvers to persuade Thor to leave. He refuses and they fight, with Thor eventually defeating her when she avoids using her full power out of fear of causing casualties. Following this, Foster's intern, Darcy Lewis, suggests that Danvers instead attack Thor in less populated areas.


title: Jane Foster (Marvel Cinematic Universe)

text: Seeking a more peaceful solution, Foster contacts Heimdall, who helps her meet Frigga and explain the situation. Frigga contacts Thor and tells him that she will be returning soon. Frightened, Thor ends the parties and convinces the party-goers to help him clean up. Frigga arrives, finding Thor studying with his retinue, but sees evidence of the partying. Before returning to Asgard, Thor visits Foster to forgive her and thank her for contacting Frigga. Thor asks Foster out for a date, however, he is suddenly confronted by an alternate reality version of Ultron in Vision's body, who wields all six Infinity Stones.


title: Jane Foster (Marvel Cinematic Universe)

text: While Natalie Portman's performance as Jane Foster was positively received by critics, Foster's character garnered mixed reviews. Richard Kuipers of "Variety" praised Portman's performance in "Thor", but criticized the development of her character and her relationship with Thor, writing, "Though Thor’s romance with Jane is passable, thanks largely to Portman’s sterling work in a thinly written role, the couple isn’t given enough alone time or meaningful dialogue to raise the relationship above the ordinary." Peter Travers of "Rolling Stone" stated Natalie Portman "winningly" portrays Jane Foster across "Thor: The Dark World". Peter Bradshaw of "The Guardian" found that Portman portrayed Foster through "The Dark World" in a brave, spirited way. Dutta of "/Film" found Foster to be mishandled across the "Thor" film series, writing, "Although Jane has always been a resilient, intelligent person — a brilliant astrophysicist who did some incredible research on the complex Einstein–Rosen Bridge theory — her character was reduced to a damsel in distress in "Thor: The Dark World", after which she completely disappeared from the MCU (I wouldn't count the dubious shot of the back of her head in "Avengers: Endgame")." Valerie Complex of "Deadline Hollywood" referred to the character as a "damsel in distress" prior to "Thor: Love and Thunder."


title: Jane Foster (Marvel Cinematic Universe)

text: Following the release of "Thor: Love and Thunder", Natalie Portman's performance was praised alongside Foster's character. Cooper Hood of "Screen Rant" noted that Portman's performance and Foster received very positive reviews from critics and audience alike, writing, "Those who have seen "Thor: Love and Thunder" already seem to be in complete agreement that Portman's inclusion as Mighty Thor is one of the most successful elements." Paul Chi of "Vanity Fair" noted that Portman as the Mighty Thor "caused a commotion on social media." Valerie Complex of "Deadline Hollywood" stated "Love and Thunder" succeeds to give Portaman's character a meticulously developed arc to her character and complimented her performance, saying, "She’s gone on record expressing her unhappiness with how she was portrayed as an underdeveloped damsel in distress in the first two "Thor" films. She is fully committed to the part and looks good while doing it. She has some very cool fight scenes and will hopefully do more of that the future." Nick Allen of "RogerEbert.com" reviewed "Love and Thunder" positively, praising Portman's performance and the development of her character across the film, stating, "In both her human and her heroic state, Portman’s performance conveys why it's great to see Jane again." Todd Gilchrist of "The A.V. Club" gave a positive review of the film and applauded the performance of Portman, complimenting the development of her character across the movie, saying, "Portman delivers the goods as “The Mighty Thor,” kicking ass alongside Hemsworth even if her inaptitude for catchphrases offers a solid running joke as she develops her heroic bona fides." Debbopriyaa Dutta of "/Film" found that "Love and Thunder" manages to empower Foster's character, stated the film succeeds to provide a realistic development of Foster's relationship with Thor, and found the death of the character to be a "good way of closing out Jane's arc within the context of the direction the film decided to march in." Lacy Baugher of "Den of Geek" called Portman "effervescent" as Foster, stating, the film "gives Jane Foster the story she's deserved for the past decade," and praised the development of the character, writing, "She has passed the test and become a true hero, and at long last when it comes to this character."


title: Japanese occupation of the Philippines

text: The Japanese occupation of the Philippines (Filipino: "Pananakop ng mga Japones sa Filipinas"; ) occurred between 1942 and 1945, when Imperial Japan occupied the Commonwealth of the Philippines during World War II.


title: Japanese occupation of the Philippines

text: The invasion of the Philippines started on 8 December 1941, ten hours after the attack on Pearl Harbor. As at Pearl Harbor, American aircraft were severely damaged in the initial Japanese attack. Lacking air cover, the American Asiatic Fleet in the Philippines withdrew to Java on 12 December 1941. General Douglas MacArthur was ordered out, leaving his men at Corregidor on the night of 11 March 1942 for Australia, 4,000 km away. The 76,000 starving and sick American and Filipino defenders in Bataan surrendered on 9 April 1942, and were forced to endure the infamous Bataan Death March on which 7,000–10,000 died or were murdered. The 13,000 survivors on Corregidor surrendered on 6 May.


title: Japanese occupation of the Philippines

text: Japan occupied the Philippines for over three years, until the surrender of Japan. A highly effective guerrilla campaign by Philippine resistance forces controlled sixty percent of the islands, mostly forested and mountainous areas. MacArthur supplied them by submarine, and he sent reinforcements and officers. The Filipino population remained generally loyal to the United States, partly because of the American guarantee of independence, because of the Japanese mistreatment of Filipinos after the surrender, and because the Japanese had pressed large numbers of Filipinos into work details and put young Filipino women into brothels.


title: Japanese occupation of the Philippines

text: General MacArthur kept his promise to return to the Philippines on 20 October 1944. The landings on the island of Leyte were accompanied by a force of 700 vessels and 174,000 men. Through December 1944, the islands of Leyte and Mindoro were cleared of Japanese soldiers. During the campaign, the Imperial Japanese Army conducted a suicidal defense of the islands. Cities such as Manila were reduced to rubble. Around 500,000 Filipinos died during the Japanese Occupation Period.


title: Japanese occupation of the Philippines

text: Japan launched an attack on the Philippines on 8 December 1941, just ten hours after their attack on Pearl Harbor. Initial aerial bombardment was followed by landings of ground troops both north and south of Manila. The defending Philippine and United States troops were under the command of General Douglas MacArthur, who had been recalled to active duty in the United States Army earlier in the year and was designated commander of the United States Armed Forces in the Asia-Pacific region. The aircraft of his command were destroyed; the naval forces were ordered to leave; and because of the circumstances in the Pacific region, reinforcement and resupply of his ground forces were impossible. Under the pressure of superior numbers, the defending forces withdrew to the Bataan Peninsula and to the island of Corregidor at the entrance to Manila Bay. Manila, declared an open city to prevent its destruction, was occupied by the Japanese on 2 January 1942.


title: Japanese occupation of the Philippines

text: The Philippine defense continued until the final surrender of U.S.-Philippine forces on the Bataan Peninsula on April 10, 1942, and on Corregidor on May 6, 1942. Quezon and Osmeña had accompanied the troops to Corregidor and later left for the United States, where they set up a government-in-exile. MacArthur was ordered to Australia, where he started to plan for a return to the Philippines.


title: Japanese occupation of the Philippines

text: Most of the 80,000 prisoners of war captured by the Japanese at Bataan were forced to undertake the infamous "Bataan Death March" to a prison camp 105 kilometers to the north. Thousands of men, weakened by disease and malnutrition and treated harshly by their captors, died before reaching their destination. More men died from Japanese mistreatment in the first four months in the camps than had died in the four months of battle previously.


title: Japanese occupation of the Philippines

text: The Japanese military authorities immediately began organizing a new government structure in the Philippines. Although the Japanese had promised independence for the islands after occupation, they initially organized a Council of State through which they directed civil affairs until October 1943, when they declared the Philippines an independent republic. Most of the Philippine elite, with a few notable exceptions, served under the Japanese. The puppet republic was headed by President José P. Laurel. Philippine collaboration in puppet government began under Jorge B. Vargas, who was originally appointed by Quezon as the mayor of City of Greater Manila before Quezon departed Manila. The only political party allowed during the occupation was the Japanese-organized KALIBAPI. During the occupation, most Filipinos remained loyal to the United States, and war crimes committed by forces of the Empire of Japan against surrendered Allied forces and civilians were documented.


title: Japanese occupation of the Philippines

text: Throughout the Philippines more than a thousand Filipinos, composed of mothers, girls, and gay men, some aged 10, were imprisoned, forcibly taken as "comfort women", and kept in sexual slavery for Japanese military personnel during the occupation.