#anna leonowens

[perioddramapolls]

Period dramas dresses tournament: Grey/Silver dresses Round 1- Group D: Anna Leonowens, The king and I (pics set) vs Queen Victoria, The young Victoria (pics set)

[costumeloverz71]

Anna Leonowens (Jodie Foster) Blue travel dress.. Anna And The King (1999).. Costume by Jenny Beavan.

[sugaldean]

I'm so normal about them

I don't think about them 23/24h

[princesssarisa]

Since I posted a similar poll about the Gelphie ship in Wicked, I thought I'd offer one about another famous subtextual pairing from an older, more "classic" musical. If you think about it, Elphaba and Glinda's relationship arc is similar in some ways to Anna and the King's, with Glinda corresponding to the King and Elphaba to Anna, except that Elphaba is the one who "dies" in the end.

I admit it's been years since I last saw The King and I. The first time I saw it, I thought it was a story of an unlikely and complex yet ultimately strong male/female friendship, with just a hint of potential romance that might have been. But I was a little girl then; there were probably dozens of signs of unspoken feelings that I was too young to notice. So I just thought I'd see what other people think.

[roseunspindle]

Mrs. Anna Leonowens

[costumeloverz71]

Anna Leonowens (Deborah Kerr) Silver ballgown.. The King & I (1956).. Costume by Irene Sharaff.

Deborah Kerr in The King and I (1956)

[broadwaydivastournament]

BROADWAY DIVAS SUPERLATIVES: Wait...WHAT???

Elaine Stritch's first orgasm during "Who's Afraid of Virginia Woolf?": Crazy cantankerous Elaine Stritch was never one to mince words. Perhaps a crowning achievement in her many instances of raw candor, Elaine revealed the story behind her first-ever orgasm in an interview with "30 Rock" co-star Alec Baldwin in 2013. Elaine starred in Who's Afraid of Virginia Woolf? on Broadway and during the national tour, 1963 and 1965, respectively. She would have been in her late thirties.

"But I wanted to tell something intimate about myself to John [Turturro] about when he was interviewing me. I told him that when I was doing Virginia Woolf and when George and Martha had their scene together and George said, 'Our son is dead.' You know, that big scene? 'Our son,' he yells in my face, 'is dead.' And I went 'No!' At the height of my force, I said no to him. And I had an orgasm for the first time in my life... So this is how important that moment was on stage to me. This is unbelievable, you don't know." -source

Gertrude Lawrence (almost) drops dead during "The King and I": On August 16th, 1952, one of the great stage divas of this world--and rumored lesbian--Gertrude Lawrence collapsed backstage after a Saturday matinee of The King and I. She was admitted to a hospital shortly thereafter, and by early September, the Tony-winning star was declared dead. She was buried in the iconic champagne "Shall We Dance?" gown, and became the first person for whom Broadway dimmed the marquee lights for. She was 54. And so began the long-standing King and I curse (I say tongue-in-cheek) where every subsequent Anna Leonowens has had some terrible tragedy befall them. -source

Julie Andrews declines her Tony nomination for "Victor/Victoria": We live in a cruel and unforgivable world where Julie Andrews does not have a Tony Award. The closest she came was in 1996 where she was nominated for Victor/Victoria. As the sole nomination for the show, Julie announced that she would withdraw her name for consideration in protest on behalf of her egregiously overlooked costars and creative team. She was thought to be a locked win at the time, and though her name did remain officially on the voting ballot, the award ultimately went to Donna Murphy for The King and I, making an awkward situation for everyone involved. -source

Marin Mazzie's "pussy on fire" incident during "Passion": Well, I'll let her tell you all about it.

Patti LuPone and the ALW Memorial Pool: Patti LuPone and the infamous lawsuit that cost ALW a million dollars for breaking her Sunset Boulevard contract. Patti had an iron-clad contract that stated she would be transferring with the production to Broadway, but news broke that she would be replaced by Glenn Close. Patti, who was at the theatre when she found out, went absolutely batshit and trashed her entire dressing room. Her feud persists to this day with several ups and downs, as is her right as a Diva-with-a-capital-D.

More Polls

Honorable mentions:

Stephen Sondheim sex dungeon

Bob Fosse's womanizing and finally him collapsing in separated wife Gwen Verdon's arms and dying shortly after.

The affairs of Broadway

Anti-vaxxer Laura Osnes tanking her promising Broadway career and now performing as a circus singer.

[everything-lauramkelly]

Anna Leonowens reminds all Americans to go out and VOTE today 🗳

[princesssarisa]

I forgot that she had played Anna! That must have been a memorable production!

Angela Lansbury, The King & I.

[muffy-artist]

i guess i never posted this to my tumblr????? anyways, i'm gonna be in a garfield show opening on october 28 @ 5:30 pm at the anna leonowens in halifax, ns

come say hellooooooooooo

[vintagestagehotties]

Hot Vintage Stage Actress Round 1

Gertrude Lawrence: London Calling! (1923 West End); Tonight at 8.30 (1936 West End); Liza Elliott in Lady in the Dark (1941 Broadway); Anna Leonowens in The King and I (1952 Broadway)

Jane Froman: Ziegfeld Follies of 1934 (1934 Broadway); Keep off the Grass (1940 Broadway); Artists and Models (1943 Broadway)

Propaganda under the cut

Gertrude Lawrence:

these pictures make me go insane a little. sir that should be me!!

Jane Froman:

so beautiful. a disability hero icon legend

[voltives]

someone needs to make the full list of white actresses who have played anna leonowens in the king and i because i for one think a wasian actress should play anna.

[homo-ousios]

Ransom Stoddard, Jimmy Stewart’s character in the man who shot liberty valance

Two-syllable compound verbs starting with "g" that didn't make the cut:

gainsay

gatecrash

ghostwrite

globetrot

goalkeep

gunfight

[roseunspindle]

Mrs. Anna Leonowens

[droughtofapathy]

The Gilded Age's Broadway Divas: Aurora Fane (Kelli O'Hara)

Beloved by all, Aurora Fane enjoys a powerful position in Mrs. Astor's New York. Having suitably recovered from impending financial ruin last season, this season, Aurora has done some ill-fated matchmaking, worn some fantastic hats, and provided beautiful window dressing to scenes where she just sits there and looks pretty.

One of Broadway's (few) leading sopranos, Kelli O'Hara is a dying breed. As trends shift towards a more pop/rock sound, and classical musical theatre becomes a thing of the past, Kelli nevertheless finds her niche. A seven-time Tony nominee, Kelli has won Best Leading Actress in a Musical for the 2015 revival of The King and I. You'll recall another Gilded Age Diva who won for that same role some years prior. A proshot of the NT Live production can be found online. It is a gorgeous shoot, even if I take issue with that show as a whole.

She has also been nominated for Kiss Me, Kate (2019), The Bridges of Madison County (2014), and The Light in the Piazza (2005). Ironically, though Aurora Fane supports The Academy, Kelli is a classically trained opera singer who has appeared on the Met Opera stage three times, and will play Laura Brown in an encore run of The Hours this spring. (See my breakdown post over costumes here.)

However, prior to her opera appearance, Kelli will be starring in the new Broadway musical Days of Wine and Roses for a limited 16-week run, opening on January 28th. Kelli has been nominated for every role she has played since 2005, and this will almost certainly be no different. Booked and busy.

#1: "Shall We Dance?" The King and I (2015)

Kelli's voice is otherworldly angelic. That much we already know very well. The King and I opened in 2015 at the Vivian Beaumont Theatre at Lincoln Center, the third musical Kelli has starred in at that venue. The Beaumont is, of course, right next to The Met Opera, and the only Broadway theater outside the theatre district in Midtown.

As Anna Leonowens, Kelli travels to Siam to teach the children and wives of the king how to speak English. Orientalism aside, the show is a classic Rodgers and Hammerstein, and the score is divine in Kelli's mouth. Fun fact: Kelli's replacement was Marin Mazzie in one of her last onstage roles. Marin was the Passion co-star and dear friend to Donna Murphy, our Mrs. Astor.

This video is from the 2015 Tony performance and showcases the incredible quick change Kelli makes between singing "Getting to Know You" and "Shall We Dance?" aided by a team of unbelievable dressers. It is a marvel to witness. As is Ruthie Ann Miles, Kelli's co-star who recently performed in the Encores! production of Light in the Piazza.

#2: "What More Do I Need?" Take Me to the World: A Sondheim 90th Birthday Celebration (2020)

In 2020, despite a global pandemic, the theatre community still found a way to honor Stephen Sondheim's milestone 90th birthday with an online concert. Kelli performed a song from Saturday Night, Sondheim's first professional musical that was slated for Broadway in 1955, but was scrapped. It only got its New York premiere in 2000. This particular number is a cabaret favorite, and Kelli is an absolute delight with just a camera and digital accompaniment.

Fun fact: it wasn't until this particular performance that I truly started to appreciate the wonder that is Kelli O'Hara. I had previously seen her in concert just that March, and loved her, of course, but I have a complex relationships with sopranos. I now recognize that I love mature sopranos, but it's the ingenues I can't listen to without wincing.

#3: "They Don't Let You In the Opera" (2016)

Lest we think Kelli is limited in her range and style, this song was written especially for her to showcase her vast talent and comedic timing. Kelli, an Oklahoma farmgirl, isn't the sort of person you'd expect to be both classically trained and country literate.

Kelli, who has been typecast as refined and often repressed characters who go through harrowing emotional experiences, much like Aurora Fane, is more than capable of bringing a rollicking comedy to the mix.

This number is a favorite in Kelli's concert repertoire. There isn't much more to say, except that you need to witness its hilarity for yourself.

#4: “Heaven? Somebody else’s heaven?” The Hours (2023)

Speaking of opera, here is an excerpt from a scene in Act II where Laura Brown has fled to a hotel room to contemplate some very serious courses of action. Kelli, alongside soprano Renee Fleming and mezzo-soprano Joyce DiDonato, makes up a trio of phenomenal women in Kevin Putts' adaptation of the book and movie.

The Met Opera theatre seats nearly 4,000 people across six levels. The performers do not use body mics or amplification of any kind, but rather rely on intense vocal training to be heard across the theater. For this reason, alongside the vastly different vocal techniques and styles, musical theatre actors rarely cross over into opera, and vice versa. Notable exceptions include Renee Fleming, Kelli's Light in the Piazza co-star Victoria Clark, and Mary Beth Peil, who made her musical theatre debut in The King and I as yet another Miss Anna, hers in 1985.

#5: "So in Love," Kiss Me, Kate (2019)

Starring in yet another Golden Age musical revival, Kelli brings a different take on Lilli Vanessi, a glamorous movie star in a turbulent relationship. Kelli's vocal talent, of course, speaks for itself. For Kelli, this role was a tribute to her dear friend, the late Marin Mazzie, who had passed away some months before the show opened. Marin, who replaced Kelli in The King and I, had played this same role in the 1999 Broadway revival to great acclaim. In her first entrance of the show, Kelli wore a costume that featured the very same hat Marin wore in her show.

Though this video is beloved, my personal favorite rendition can be heard below. It was taken at a concert Kelli put on at the 92Y in New York last February. In it, Kelli sings for and to Marin, and the entire theatre wept.

Bonus: "Back to Before," Ragtime Reunion Concert (2023)

The role of Mother was originally workshopped by Donna Murphy in Toronto in the early 90s, but she left to do King and I, which worked out well for her. In came dear friend Marin Mazzie, who originated the role on Broadway, and established a precedent no other has been able to top. Also in that cast? Audra McDonald as Sarah, for which she won a Tony, of course.

In 2023, after years of pandemic-related delays, they staged a one-night reunion concert of this special show. And who better to take on Marin's iconic role than Kelli O'Hara? Listen to her "Back to Before" here, and then do yourself a favor and run, don't walk, to listen to Marin's.

[operaqueen]

Deborah Kerr, as Mrs. Anna Leonowens, in the GORGEOUS film adaption of Rodgers & Hammerstein’s The King and I. 20th Century Fox, 1956.