IN: The King and I is the fifth musical by the team of composer Richard Rodgers and dramatist Oscar Hammerstein II. 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 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 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. 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.  The Music Theatre of Lincoln Center, with Rodgers as producer, presented the musical in mid-1964 at the New York State Theater, starring Rise 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.  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".

Are there any other interesting aspects about this article?

OUT: The production, which began in June 1973 with a tour of the English provinces, earned mixed to warm reviews.


IN: Zheng He (Chinese: Zheng He ; 1371-1433 or 1435) was a Chinese mariner, explorer, diplomat, fleet admiral, and court eunuch during China's early Ming dynasty. He was originally born as Ma He in a Muslim family, later adopted the conferred surname Zheng from Emperor Yongle. Zheng commanded expeditionary voyages to Southeast Asia, South Asia, Western Asia, and East Africa from 1405 to 1433. His larger ships stretched 120 meters or more in length.

Zheng He was born Ma He to a Muslim family of Kunyang, Kunming, Yunnan, China. He had an older brother and four sisters.  Ma He's religious beliefs became all-embracing and eclectic in his adulthood. According to Dreyer (2007), the Liujiagang and Changle inscriptions suggest that Zheng He's devotion to Tianfei (Princess of Heaven, the patron goddess of sailors and seafarers) was the dominant faith to which he adhered, reflecting the goddess' central role to the treasure fleet. John Guy mentions, "When Zheng He, the Muslim eunuch leader of the great expeditions to the 'Western Ocean' (Indian Ocean) in the early fifteenth century, embarked on his voyages, it was from the Divine Woman that he sought protection, as well as at the tombs of the Muslim saints on Lingshan Hill, above the city of Quanzhou."  Zheng He was a great-great-great-grandson of Sayyid Ajjal Shams al-Din Omar, who served in the administration of the Mongol Empire and was the governor of Yunnan during the early Yuan dynasty. His great-grandfather was named Bayan and may have been stationed at a Mongol garrison in Yunnan. Zheng He's grandfather carried the title hajji, while his father had the sinicized surname Ma and also the title hajji, which suggests that they had made the pilgrimage to Mecca. It also suggests that Zheng He may have had Mongol and Arab ancestry and that he could speak Arabic.  In the autumn of 1381, a Ming army invaded and conquered Yunnan, which was then ruled by the Mongol prince Basalawarmi, Prince of Liang. In 1381, Ma Haji (Zheng He's father) died in the fighting between the Ming armies and Mongol forces. Dreyer (2007) states that Zheng He's father died at age 39 while resisting the Ming conquest. Levathes (1996) states Zheng He's father died at age 37, but it is unclear if he was helping the Mongol army or just caught in the onslaught of battle. Wenming, the oldest son, buried their father outside of Kunming. In his capacity as Admiral, Zheng He had an epitaph engraved in honor of his father, composed by the Minister of Rites Li Zhigang on the Duanwu Festival of the 3rd year in the Yongle era (1 June 1405).

Was he close to his family?

OUT: