Blasting off with The King of Siam (et cetera!)
A Rodgers & Hammerstein classic gets the "MARQUEE treatment"
Shalom, Broadway lovers!
In today’s MARQUEE: The Broadway Maven’s Weekly Blast: A) a survey about a possible Broadway Maven travel component; B) four Broadway Blasts about The King and I; C) a Broadway Maven video with Juilliard Prof. Edward Barnes about “A Puzzlement” from The King and I; D) an announcement about a very-big-deal Broadway Maven panel on Wicked at BroadwayCon in February; E) a Broadway Maven video about the lyrics of “The Ladies Who Lunch” from Stephen Sondheim’s Company; F) a report on possible Wicked attractions at Universal theme parks; and G) a Last Blast about Sweeney Todd.
ANNOUNCEMENT: We’re having a RUSH! The Broadway Maven is offering five FREE classes the first full week of January, which will give non-Members a chance to see up close what the Broadway Maven is and what happens in our classes. The schedule is above, and you can register at the button below
Shalom! The Broadway Maven has been going through a "King and I phase," given last Sunday's class with Juilliard Prof. Edward Barnes (see an excerpt below) and last week's review of the show's unfortunate animated version. Along the way, I've written several Broadway Blasts about the King of Siam, and I'm pleased to share four of them with you. Shall we dance?
BROADWAY BLAST: In The King and I, the King repeatedly uses the phrase “et cetera, et cetera, et cetera.” At first glance, it seems flippant, but it’s deeply revealing. “Et cetera” is a Latin phrase, part of a highbrow linguistic tradition, signaling the King’s eagerness to adopt Western customs. Yet his overuse and reliance on this phrase highlight his inability to fully articulate or comprehend the nuances of these foreign ideas. It becomes ironic shorthand for the cultural and intellectual tensions he faces: a ruler grappling with modernity but constrained by tradition. By giving the King this verbal tic, Rodgers and Hammerstein emphasize the disparity between his considerable authority and his incomplete understanding, turning a small linguistic quirk into a profound reflection of the musical’s central conflict.
BROADWAY BLAST: One of the subtle yet intriguing aspects of The King and I lies in Anna’s refusal to correct the broken English spoken by the King and his court. As a teacher, Anna could have easily asserted her role by policing proper grammar. Instead, she mirrors their phrasing, repeating lines like “I will tell king this” without modification. This choice is deeply tied to the central themes of the musical, which explore the meeting of East and West as a “dance”—a process of mutual adjustment and understanding. Anna’s decision to echo their speech rather than correct it may seem like a small detail, but it underscores her respect for the Siamese people’s identity. It suggests that Anna, despite being the “teacher,” does not see herself as superior. Instead, she engages in a partnership, letting cultural exchange take precedence over cultural imposition. This dynamic is at the heart of her evolving relationship with the King, making their journey one of mutual transformation rather than domination.
BROADWAY BLAST: In The King and I the "March of the Siamese Children" is more than a ceremonial introduction of the King’s offspring; it’s a tableau of power, legacy, and control. The children, some barely old enough to walk steadily, parade to music with a distinctly military rigidity, underscoring the King's authoritarian rule even within the intimate bounds of his family. This contrast between their youthful innocence and the militaristic choreography reflects the duality of the King’s approach: affection tempered by an insistence on discipline. Rodgers and Hammerstein's choice to pair a march-like musical motif with this familial scene mirrors the King's desire to mold his legacy through control while simultaneously hinting at his vulnerability. The children’s individuality, revealed only fleetingly, is overshadowed by their collective identity as extensions of their father’s sovereignty—foreshadowing the broader cultural and personal struggles that dominate the story.
BROADWAY BLAST: In The Sound of Music and The King and I, the ways Maria and Anna meet their respective groups of children reflect the transformative influence they will have. Maria’s introduction to the von Trapp children is chaotic and brimming with personality, signaling her eventual success in breaking through the emotional barriers imposed by their father’s strict rules. Anna, by contrast, is introduced to the Siamese children in a ceremonial march, emphasizing her outsider status and the formal, hierarchical nature of the King’s rule. These moments not only set the tone for their relationships but also highlight the cultural contexts of the two stories: Maria represents the power of emotional connection to heal a fractured family, while Anna embodies the delicate balance required to bridge two worlds and initiate change without imposing it. Both women ultimately redefine their respective families, but through starkly different means.
BROADWAY MAVEN YouTube GEM: How can we tell the King of Siam's internal state through Richard Rodgers's music and Oscar Hammerstein's lyrics? In this analysis of The King and I's "A Puzzlement," Juilliard Prof. Edward Barnes walks Broadway Maven students through the song's delights. (The entire one-hour class video is available to Broadway Maven Members.)
HOLIDAY GIFT: We all have Broadway musical and theater lovers in our lives and there's no better option for birthday, Chanukah, Christmas or congratulatory gifts than the "Be A Broadway Star” board game. Anyone who enjoys board games, charades, or trivia will also have a blast testing out their acting skills!
ANNOUNCEMENT: Ding, dong! The Broadway Maven is pleased to announce that at Noon on Sunday, February 9 at BroadwayCon in Manhattan it will be convening a sure-to-be-epic Wicked panel. Participating will be the original novel's author Gregory Maguire, script- and screenwriter Winnie Holzman, and two academics who have written about Oz: Pulitzer Prizewinning New York Times essayist Salamishah Tillet and Changed for Good: A Feminist History of the Broadway Musical author Stacy Wolf. And, of course, Broadway Maven David Benkof! With all the attention the Wicked movies have garnered, it's likely to be the biggest draw at BroadwayCon, with hundreds of convention-goers in attendance. It's one of at least four sessoins coordinated by The Broadway Maven during the three-day event February 7-9. Register at https://www.broadwaycon.com/.
BROADWAY MAVEN YouTube GEM: Stephen Sondheim's "The Ladies Who Lunch" from Company excels for its bossa nova music and its thematic contribution to the show's message for protagonist Robert about human connection. But perhaps that song's greatest achievement is in Sondheim's lyrical prowess, as shown by Broadway Maven Sondheim educator Gail Leondar-Wright in this video. I'll drink to that!
REPORT: Theme Park Insider is a great substack for fans of Disney and Universal and other theme parks. The most recent issue has a deep dive into the future of Wicked theming at Universal parks.
Here's an interesting point that newsletter writer Robert Niles made:
Finally, one cannot forget legal restrictions. Universal produced the "Wicked" musical and films, and owns the rights to Gregory Maguire's novel. L. Frank Baum's "The Wonderful Wizard of Oz" is in the public domain. But Universal - to my knowledge - does not own the theme park rights to the 1939 MGM film, "The Wizard of Oz." That means no ruby red slippers in a Universal Oz land, or any other specific changes or additions that MGM made to Baum's work.
ANNOUNCEMENT: The Broadway Maven is now offering one month’s FREE Membership, between now and December 31. Get invited to ALL Broadway Maven classes and other expert-led Broadway experiences (5-15 a month) for just $18 a month, with the first month’s fee waived for new members. Membership includes a password to the Clips Archive and periodic giveaways to Broadway and off-Broadway shows, including at least one opening night performance and party. Upcoming Members-only classes include A Chorus Line, Sondheim Bit by Bit, Jewish Broadway Lyricists, Guys and Dolls, and a watch party for Pacific Overtures. Join this vibrant learning community at the button below. It’s your home for Broadway appreciation!
Members Only: Great Jewish Lyricists (Sunday, December 15 at Noon ET)
Note: A full calendar of upcoming classes is always available at TheBroadwayMaven.com.
• Sunday, December 15 Noon ET “Careful the Things You Say”: Broadway’s Great Jewish Lyricists (Members only)
• Monday, December 16 Noon ET A Chorus Line (Members only)
• Tuesday, December 17 Noon and 7 pm ET Sondheim: Bit by Bit (Members only)
• Wednesday, December 18 Noon ET Stage Dor L’Dor: Broadway and Jewish Values (Members only)
• Sunday, December 29 Noon ET Pacific Overtures watch party (Members only)
• Sunday, January 5 Noon and 7 pm ET Cole Porter’s Broadway (FREE, register HERE)
• Monday, January 6 Noon and 7 pm ET Hair (FREE, register HERE)
• Tuesday, January 7 Noon and 7 pm ET Waitress (FREE, register HERE)
• Wednesday, January 8 Noon and 7 pm ET Fosse’s Cabaret (FREE, register HERE)
• Thursday, January 9 Noon and 7 pm ET West Side Story (FREE, register HERE)
• Monday, January 13 Noon ET Guys and Dolls (Members only)
NOTE: As always, Broadway Maven Members and ALL-ACCESS Passholders (through December 31) do not have to sign up or pay for anything. Just show up!
LAST BLAST: The lovely tune for "Green Finch and Linnet Bird" in Sweeney Todd: The Demon Barber of Fleet Street masks a pretty creepy song. The lyrics express how Johanna feels trapped and admires birds who are able to express themselves even when caged. But then the song gets dark. She asks the chirping birds "are you screaming?" and then speculates that for some birds, living in a cage feels safer than freedom. The shift in the lyrics reflects the recurring theme in Sweeney Todd of innocence being corrupted or tainted by the harsh realities of life.
The Broadway Maven is a vibrant educational community that helps its members think more deeply about musical theater. Every month, members may attend 5-15 expert-led classes and innovative Broadway experiences, all for just $18. We also foster enthusiasm for Broadway through the FREE weekly substack newsletter MARQUEE and host an expansive YouTube channel. It's your home for Broadway appreciation. Contact The Broadway Maven at DavidBenkof@gmail.com.