Moreover, the leads are not as powerful as one might expect. THE KING AND I is one of the few widely available recordings that allow listeners the chance to hear Gertrude Lawrence--a performer who was celebrated as "the toast of two continents" in an era when such accolades had actual significance. But in truth, Lawrence's gift was a powerful star quality that drew every eye to her--a star quality so powerful that it easily over-rode her rather non-descript and distinctly flat singing voice. And shorn of her actual presence, her voice reads as precisely that: non-descript and distinctly flat. As for Yul Brenner, over time he would make the King his signature role, performing it on the screen and in endless revivals to great acclaim. But in 1951 he was an unknown, and this recording shows him still very insecure in the role.

The supporting cast is very good ("My Lord and Master," "We Kiss In A Shadow," and "Something Wonderful" are truly memorable)--but given the nature of Lawrence's singing voice, Brenner's obvious caution, and the various flaws and limitations of the recording, this is a Broadway soundtrack that is perhaps best left to hardcore fans. To them it is strongly recommened; others, however, would do better to purchase a more recent version.

--GFT (Amazon reviewer)--


Quite a Magic Performance   November 19, 2000
Matthew M. Yau (San Francisco, CA)
7 out of 7 found this review helpful

I developed a spree of searching for Rodgers and Hammerstein's orginal works after watching "Anna and the King" in the Christmas of 1999. The movie (starring Jodi Foster and Chow Yuan Fat) was exquisitely done yet still fell far off from the original work (particularly the score).

This 1951 recording features Yul Brynner, who acted out the part of the King perfectly (and he is NOT too old for this part). Gertrude Lawrenece might not be the best singer; yet her performance is just as praise-worthy. The musical brings about some of the most beautiful pieces from Rodgers and Hammerstein that are comparable to "Sound of Music".


Recording not up to demands of show   January 23, 2004
Mark Andrew Lawrence (Toronto)
5 out of 5 found this review helpful

THE KING AND I has always been one of Rodgers & Hammerstein's most popular shows. It has been frequently recorded receieving 4 New York cast albums, 2 London casts and 3 studio casts as well as the film soundtrack. Normally the first original cast is to be preferred but the limitations of the day prevent this 1951 recording from being definitive.

Decca was not as advacnced in recording techniques as were some of the other labels and the sound quality of this disc is very tinny. Gertrude Lawrence's already thin voice is not helped at all. The lady has pitch problems and her celebrated stage presence just doesn't come across on the recording. Dorothy Sarnoff and Doretta Morrow at least have voices up to the demands of the music, but they too suffer from the flad sound of the Decca studio. Larry Douglas uses his voice to good effect and projects some warmth in his duets, while Yul Brynner is heard only in a heavily cut recording of "A Puzzlement" and for a few lines in "Shall We Dance." This last number, shorn of its dialogue and dramatic context is robbed of any meaning. It becomes just another number. Although this album was originally released in all 3 speeds (78, 45 and 33) the songs were heavily abridged to fit the 3 1/2 minute limitations of the 78 RPM format. All in all, it is not a satisfactory recording of the show.

Those in search of the nearly complete score would be better served by the 1977 RCA cast album of the revival with Brynner in full command of the role.


The Last of the Great R&H Dramas   July 26, 2001
Bradley Cooper (Santa Monica, CA United States)
5 out of 5 found this review helpful

While Rodgers and Hammerstein went on to collaborate five more times during their career, this was the last of their great musical plays. All that followed "The King and I" could be more easily described as musical comedy. Although its age is evident (none of the early recordings on random labels hold a candle to the Columbia recordings), this really is the recording of choice for any "The King and I" connoisseur. After all, R&H wrote the show for Gertrude Lawrence who came to them with the story. Granted, her voice may not be the loveliest on Earth, but she's got the spunk and attitude necessary for the character. The rest of the cast, including the inimitable Yul Brynner (nice try, Ben Kingsley), is wonderful and the songs are performed at their best. Songs like "I Whistle A Happy Tune," "Hello, Young Lovers," "Getting to Know You" and "Shall We Dance" are sung as well as can be expected by an at-the-end-of-her-life Lawrence. While they are all among the best songs written by R&H, they pale in comparison (in my humble opinion) to the two real winners in this score: the beautiful love duet "I Have Dreamed" and the score's best song "Something Wonderful." The latter song really does sum up the entire relationship between Mrs. Anna and the king and is the true theme of the show. I highly recommend this recording, especially over the abominable 1992 Andrews/Kingsley recording. At least Lawrence still had some spunk when she performed these songs. Andrews had already lost her voice and scooped every lyric. Trust me, they got it right with the original cast!


1951-not the year to capture a great musical   July 26, 2004
Music Lover
6 out of 7 found this review helpful

One correction to a review on this page. (Sorry) Yul Brynner was in his early thirties when this recording was made. (Born 1920). The only real value in this album is Gertrude Lawrence. Her star power was incredible, although this forced album does not allow her to completely shine. The recording technique is terrible. It's flat (not referring to pitch), the instruments are muffled, and everything is cut to fit either time for the 78 RPM's or for radio broadcast. Not a true representation of the great musical. I understand that this is 1951, but Columbia was light years ahead in recording technique (South Pacific-1949) The best representation is the 1977 Braodway Cast(RCA), which showed Yul Brynner in his return to Broadway. It is also the first recording with everything (except Uncle Thomas)to be uncut. Superb sound, and even some dialouge vignettes from different scenes, including a full Shall we Dance? Buy 1977, not 1951. Not recommending this recording.