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Dishing out daily (or almost daily) Broadway musical news and gossip. The companion site to The Broadway Musical Home (, a directory of Broadway musicals with the story, songs, merchandise, video clips, lyrics, tickets, rights & awards for almost 200 shows.

Archive for Rodgers and Hammerstein

The Reviews for The King and I Are In…


Photo by Sara Krulwich

The reviews for The King and I are in, and the critics universally admire this astonishing revival.  Playing at the Vivian Beaumont Theater at the Lincoln Center, this sometimes touchy standard is here crafted by the deft, thoughtful hands of director Bartlett Sher. Instead of hiding behind or overemphasizing the seemingly out-of-touch themes of the musical, Sher builds a world of openness and clarity, one where the story and its innate messages somehow ring as truthfully and broadly as ever. The production is at once lavish and large and intimate and honest, thanks in part to creative collaboration with Catherine Zuber (costumes) and Michael Yeargan (set), comrades from Sher’s 2008 South Pacific.  The cast is led by the stunning Kelli O’Hara who wins hearts and makes the tale all the more compelling. Ken Watanabe also plays a winning turn as the King of Siam, complete with an authentic language barrier at times.  Truth be told, there are dozens of reasons to add The King and I to your shortlist. Simply don’t miss it.


A big, scrupulously detailed 19th-century ship glides toward the audience in the opening moments of Bartlett Sher’s resplendent production of Rodgers and Hammerstein’s “The King and I,” which opened on Thursday night at the Vivian Beaumont Theater. It’s an impressive sight, worthy of every “oooh” it elicits. But … 



Lincoln Center Theater’s “The King and I” arrives this spring much like the ship Chow Phya heaves into view of Bangkok on the Vivian Beaumont stage: a majestic vessel of excellent construction, expertly piloted and bringing with it many wonderful things—starting with Kelli O’Hara. What’s more, in a year of bland … 



The mutual fascination and eternal struggle for understanding across the cultural divide between East and West is played out on a magnificent scale in Lincoln Center Theater’s breathtaking revival of “The King and I.” As he did with the company’s transcendent “South Pacific” seven years ago, director Bartlett 



In a day and age when producers, directors and author’s executors think nothing of imposing their so-called artistic vision on Broadway masterworks that were pretty good to begin with, it is heartening to see producers, directors and executors just do the show as written. Lincoln Center Theater and director … 



The astonishing Kelli O’Hara is back on Broadway. This time, she’s leading Lincoln Center’s respectful take on “The King and I,” as schoolteacher Anna Leonowens, who stands up to the ruler of Siam — here, Oscar-nominee and Broadway newcomer Ken Watanabe. The revival of Rodgers and Hammerstein’s classic musical … 


The Reviews for Cinderella are In…

The reviews are in for the new adaptation of Cinderella, now playing at the Broadway Theater, and though critics found the new adaptation by Douglas Carter Beane a bit heavy-handed, they universally felt director Mark Brokaw successfully kept all in check, maintaining the old-fashioned integrity of the original story and pulling together a fabulous cast of talented folks including Laura Osnes and Santino Fontana, who sizzle in the lead roles. But the most excited members of the audience were not the critics, but the little girls and moms who squealed with delight at every magic trick, gorgeous gown and fairy tale kiss, not to mention the tiaras and other merchandise available for purchase in the lobby. If pre-opening sales and audience reception are any indication of run time, this show, even with with its lavish costume and special effect budget, is likely to recoup in no time at all and run happily ever after.


“This ‘Cinderella’ wants to be reassuringly old-fashioned and refreshingly irreverent, sentimental and snarky, sincere and ironic, all at once…for a show that’s hawking T-shirts that read ‘I can be whatever I want to be’ (a Hammerstein lyric), it doesn’t seem to know quite what that is….The keynote songs from the original have been retained. And anyone who swooned however many decades ago over ‘Ten Minutes Ago,’ the prince and Cindy’s musical equivalent to Romeo and Juliet’s ‘palmers’ kiss’ scene, will find that it is sung quite fetchingly here. But a lot has been added and deleted….The silver-voiced Ms. Osnes seems to believe unequivocally in her character, which is winning in its own way but doesn’t quite match up with Mr. Fontana….The showstoppers in this version aren’t the songs so much as those instant costume changes from rags to riches by our girl Cindy.”
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“What kind of fairy tale is this? In the hands of playwright Douglas Carter Beane, a quite fine one actually…His script crackles with sweetness and freshness, combining a little ‘Monty Python’s Spamalot’ with some ‘Les Miserables.’…The second half action sags a little as the creators try to shoehorn in as many songs as possible, but there’s no denying this charming, witty adaptation…Director Mark Brokaw gets high marks for juggling a lot of dancing, special effects, heavy scenery and top-notch singing, all in service of a quirky, yet heart filled take on the classic story. They’re helped by a first-rate cast, led by Laura Osnes, who one suspects was born to play a princess. She’s so naturally earnest and sweet than she barely has to act…Beane has taken so many liberties with the classic story that you may not always know where the story is going, a big feat for such a classic tale…For the kids, there is pure magic. Cinderella’s gowns appear with the best Broadway sorcery, a fox and a raccoon become footmen, the horse-drawn carriage appears as if we were in a Vegas magic show and a giant tree monster is slayed.”

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“It’s a relief to see a show that softens its revisionist impulses within a warm embrace of sugar-frosted tradition. Reworked for Broadway from its bones as an original 1957 television musical, Rodgers & Hammerstein’s Cinderella gets off to a halting start and takes some questionable detours. But this pleasurable confection overcomes its conceptual missteps with old-fashioned stagecraft, enchanting design elements, smooth direction and choreography, and most of all, winning contributions from an ideally cast ensemble….The principal architect of this latest overhaul is Douglas Carter Beane, whose book is paradoxically its shakiest element…Thankfully, the classic Charles Perrault tale proves indestructible enough to withstand the meddling. The quintessential element that the production gets resoundingly right is the chemistry between downtrodden Cinderella (Laura Osnes) and her lovestruck Prince (Santino Fontana)…But perhaps equally important is the romantic power of the music….The feeling remains that, much like the glass slipper on all those wannabe princesses, the material is an imperfect fit for Beane’s snappy irreverence. But under the gently guiding hand of director Brokaw, this Cinderella makeover nonetheless has enough magic on tap to deliver crowd-pleasing family entertainment.”

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“Watch out, ‘Wicked’ witches, here comes ‘Rodgers & Hammerstein’s Cinderella,’ a heavyweight contender for those precious audiences of little girls who attend the theater in princess gowns and glittery tiaras – faithful theatergoers who make regular pilgrimages to their beloved shows and get their mothers to buy them lotsa stuff at intermission. Stage treatments of this classic 1957 made-for-TV musical starring Julie Andrews are common enough. But with additional songs and a witty new adaptation by Douglas Carter Beane, this show counts as a legit Broadway premiere….Helmer Mark Brokaw…has cast this show shrewdly, with actors who can sing, get their laughs, and in one crucial case especially, even dance. That triple threat is Osnes, the brave little trouper who made ‘Bonnie & Clyde’ bearable. While her light soprano gives sweet voice to Ella [Cinderella’s name in this version], Osnes’ acting chops and dancing skills make her as lovely to watch as she is to listen to. As her Prince (here called Topher), Fontana may not be as dashing as the dragon slayer of fairy-tale legend, but he’s certainly cute and funny – and limber enough to sing and move and look charming at the same time, an impossible task for many a leading man…The cheeky humor of Beane’s book comes from imposing modern sensibilities (and contemporary lingo) on timeless storybook figures…Cinderella has become a secondary character in a story about a guy who mans up and resolves his identity crisis.”

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DEAL ALERT: $18.99 for The Sound of Music 45th Anniversary Blu-Ray and DVD Set

Every week we scour the web to find the best musical theatre deals on cast albums, videos, sheetmusic, tickets, merchandise and more, but many items are available at these great prices for a limited time only, so grab them while you can…

$18.99 for The Sound of Music 45th Anniversary Blu-Ray and DVD Set

Sound of Music 45th Anniversary Set

Get the deal!

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WEEKLY DEAL ALERT: 36% Off The Rodgers and Hammerstein Collection on DVD

After receiving feedback from you regarding our deal alerts, we’re moving from a daily to a weekly deal. We’ll still scour the web to find the best musical theatre deals on cast albums, videos, sheetmusic, tickets, merchandise and more, but rather than get you updates every day, you’ll now get them weekly. Remember, many items are available at these great prices for a limited time only, so grab them while you can…

36% Off The Rodgers and Hammerstein Collection on DVD

Get all of your favorite Rodgers and Hammerstein films in one set at an amazing price – $63.50. This collection includes South Pacific, The Sound of Music, Carousel, Oklahoma, The King and I and State Fair. If you don’t already own these films, you can’t ask for a better opportunity to buy! And yes, the holidays are still a ways away, but this does have Xmas present written all over it for the Broadway musical lover in your life…

Get the deal now!

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