{"id":1698,"date":"2020-12-08T05:51:27","date_gmt":"2020-12-08T05:51:27","guid":{"rendered":"https:\/\/performingartslegacy.org\/dybasjames\/?p=1698"},"modified":"2021-03-14T11:09:43","modified_gmt":"2021-03-14T15:09:43","slug":"the-king-i","status":"publish","type":"post","link":"https:\/\/performingartslegacy.org\/dybasjames\/the-king-i\/","title":{"rendered":"The King & I"},"content":{"rendered":"[aesop_gallery pslightbox=”on” transition=”slide” galleryType=”thumbnail” id=”1699″]\n

This is one of my favorite roles. In 1995 the Cabrillo Music Theatre went all out to make this block buster show. We had a 27 piece orchestra, the sets from Yul Brynner\u2019s last touring production and newly designed costumes by Valerie Baltzer. Not to mention the 20 or so local kids playing The King\u2019s children. Yes, there were mothers and fathers at all of the rehearsals.<\/p>\n

This is such an iconic role and I didnt want to look like a copy of Yul Brynner, so I opted to wear a hairpiece with a long swatch of hair down the back which I felt was akin to a stallion. It was a privilege to create the journey that this character goes through within the course of the play. Dale Kristien was the perfect Mrs. Anna.
\nCast Included:
\nErin Appling \u2013 Tuptim
\nBonificio Deaso \u2013 Lun Tha
\nJames Dybas \u2013 The King
\nTerry Fishman \u2013 Sir Edward Ramsey
\nDale Kristien – Mrs. Anna
\nTanya Kwan \u2013 Princess Yung Yaowlaki
\nAsuncion Deiparine Liebe \u2013 Lady Thiang
\nNick,Marinoff \u2013 Louis
\nDavid Nankivell \u2013 Captain Orion
\nGlenn Sabalza \u2013 The Interpreter
\nMichael Solazzo \u2013 The Kralahome
\nPlus all of the local Royal Children, Royal Wives, Royal Dancers, Priests, Guards, Slaves & Townspeople,<\/p>\n

A\u00a0total of 80 cast members . Director Teri Ralston (yes, that Teri Ralston) did an amazing job getting this production on its feet with only two weeks of rehearsal. Looking back, I don\u2019t know how we did it . Thanks to Teri and this wonderful cast, it was a joyous experience.<\/p>\n","protected":false},"excerpt":{"rendered":"

[aesop_gallery pslightbox=”on” transition=”slide” galleryType=”thumbnail” id=”1699″] This is one of my favorite roles. In 1995 the Cabrillo Music Theatre went all out to make this block buster show. We had a 27 piece orchestra, the sets from Yul Brynner\u2019s last touring production and newly designed costumes by Valerie Baltzer. Not to mention the 20 or so […]<\/p>\n","protected":false},"author":200,"featured_media":1449,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-1698","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-highlight"],"metadata":{"_thumbnail_id":["1449"],"_edit_lock":["1615734465:200"],"_edit_last":["200"],"_wpac_members_redirect_to":[""],"_wpac_show_in_search":["0"],"_wpac_show_excerpt_in_search":["0"],"_wpac_nonmembers_redirect_to":[""],"ase_chapter_enable_timeline":["off"],"ase_map_component_start_point":["a:2:{s:3:\"lat\";d:29.76;s:3:\"lng\";d:-95.38;}"],"ase_mapbox_style":["openstreet"]},"acf":[],"yoast_head":"\nThe King & I - James Dybas<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/performingartslegacy.org\/dybasjames\/the-king-i\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The King & I - James Dybas\" \/>\n<meta property=\"og:description\" content=\"[aesop_gallery pslightbox=”on” transition=”slide” galleryType=”thumbnail” id=”1699″] This is one of my favorite roles. In 1995 the Cabrillo Music Theatre went all out to make this block buster show. We had a 27 piece orchestra, the sets from Yul Brynner\u2019s last touring production and newly designed costumes by Valerie Baltzer. Not to mention the 20 or so […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/performingartslegacy.org\/dybasjames\/the-king-i\/\" \/>\n<meta property=\"og:site_name\" content=\"James Dybas\" \/>\n<meta property=\"article:published_time\" content=\"2020-12-08T05:51:27+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2021-03-14T15:09:43+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/performingartslegacy.org\/dybasjames\/wp-content\/uploads\/sites\/188\/2020\/11\/The-King-I-Flyer-3-copy.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"2548\" \/>\n\t<meta property=\"og:image:height\" content=\"1153\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"James Dybas\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"James Dybas\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"1 minute\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/performingartslegacy.org\\\/dybasjames\\\/the-king-i\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/performingartslegacy.org\\\/dybasjames\\\/the-king-i\\\/\"},\"author\":{\"name\":\"James Dybas\",\"@id\":\"https:\\\/\\\/performingartslegacy.org\\\/dybasjames\\\/#\\\/schema\\\/person\\\/71063ace56aeff24edbd2c897e437140\"},\"headline\":\"The King & I\",\"datePublished\":\"2020-12-08T05:51:27+00:00\",\"dateModified\":\"2021-03-14T15:09:43+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/performingartslegacy.org\\\/dybasjames\\\/the-king-i\\\/\"},\"wordCount\":260,\"image\":{\"@id\":\"https:\\\/\\\/performingartslegacy.org\\\/dybasjames\\\/the-king-i\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/performingartslegacy.org\\\/dybasjames\\\/wp-content\\\/uploads\\\/sites\\\/188\\\/2020\\\/11\\\/The-King-I-Flyer-3-copy.jpg\",\"articleSection\":[\"Highlight\"],\"inLanguage\":\"en-US\"},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/performingartslegacy.org\\\/dybasjames\\\/the-king-i\\\/\",\"url\":\"https:\\\/\\\/performingartslegacy.org\\\/dybasjames\\\/the-king-i\\\/\",\"name\":\"The King & I - 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Started my career working in Bob Simpson Revues at the Edgewater Beach and Del Prado Hotels in Chicago. Moved to NYC and landed my first Broadway show playing the role of Vito DiRossi in Richard Rodgers\\\/Steven Sondheim\\\/Arthur Laurents\u2019 Do I Hear A Waltz?. Next came George M!, Via Galactica (oh, the stories one can tell about this one week space odyssey disaster with music by Galt MacDermot and directed by Sir Peter Hall), 42nd Street, Sunset Blvd., The Scarlet Pimpernel and Pacific Overtures, originating the Sondheim songs Someone in a Tree and - extolling the merits of \u201cDetente\u201d - Please Hello. Toured with shows like Camelot (Mordred), J.C. Superstar (Herod), 42nd Street (Andy Lee - 3 years and over 1000 performances throughout the U.S.A.,Toronto & Tokyo) and Guys and Dolls (2 years as Harry the Horse). Kind of makes my head swim when I think of all of the cities we played for sometimes six months and other times just one night. Over the years, I\u2019ve had the good fortune to study acting with Mary Tarcai, Uta Hagen, Herbert Berghof and Bobby Lewis; voice with Keith Davis, Amelia Haas and Denes Striny; dance and movement with Edna McRae, Luigi and Anna Sokolow. I\u2019m deeply indebted to all of them for giving me the knowledge to create and maintain the craft. Being in NYC - and being in the the right place at the right time - gave me the opportunity to audition for Jerome Robbins\u2019 American Theater Lab, and asked to be one of the original members of the group. We had a rigorous schedule of daily classes which included improvisational and experimental theatre games (think Grotowski). Gregg Lawrence writes about our American Theater Lab in his book Dance with Demons: The Life of Jerome Robbins. And what actor doesn't consider a few years in Los Angeles? While living there, Equity Waiver Theatre was in full flower and my motto was \u201csuit up, show up, and say yes.\u201d This resulted with my becoming a six-time recipient of the Drama-Logue Critics Award. What a blast it was working with Ray Bradbury and Jose Feliciano creating the role of Villanazul in The Wonderful Ice Cream Suit at The Pasadena Playhouse, to also work with George Rose in the L.A. premiere of Drood !, to play the wacky Tristan Tzara in Travesties, Jigger in Carousel, Tom in That Championship Season and several roles in The Great American Playwrights Show (10 short plays, 10 different roles), which we took on a six city tour after it\u2019s run at the Odyssey Theater. Regional Theatre thrives around the country and it\u2019s been great playing diverse roles in Plaza Suite, Jekyll & Hyde, Breaking Legs, Nine, Annie Get Your Gun, Singin\u2019 in the Rain, The Sea Gull, Tovarich (doing a duet Charleston number with Ginger Rogers), Hello Dolly - with both Ann Miller & Betty Grable -, Romeo & Juliet, Kiss Me Kate (yeah,another gangster role), the King in The King and I, and last but certainly not least playing the role of Barnum for three months, walking the high wire while singing (as we crossed the Bermuda Triangle) aboard the S. S. Norway in the 700 seat Saga Theater. So many other shows and stories have happened through the years. Most recently I played yet another bad guy. This was a Casa Manana - Dallas Theater Center co-production of the play To Kill A Mockingbird. The role of Bob Ewell is now one of my favorite characters. He\u2019s a lean, mean, lyin, drunken, creep. Who, me ??? The cast was brilliant and our director Wendy Dann is one of the best. Most recently Writer\\\/director Zachary Volker cast me in the role of Lou Mullin - a wacko con man - in his short film called Club Magic Moment, which has been showing at film festivals throughout the country. Scrapbooks and my theatre memorabilia are a part of the Newberry Library\u2019s archives. James Dybas Papers: Newberry Library - Chicago, IL https:\\\/\\\/mms.newberry.org\\\/detail.asp?id=814&alpha=D\",\"sameAs\":[\"https:\\\/\\\/JamesDybas.com\"],\"url\":\"https:\\\/\\\/performingartslegacy.org\\\/dybasjames\\\/author\\\/dybasjames\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"The King & I - James Dybas","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/performingartslegacy.org\/dybasjames\/the-king-i\/","og_locale":"en_US","og_type":"article","og_title":"The King & I - James Dybas","og_description":"[aesop_gallery pslightbox=”on” transition=”slide” galleryType=”thumbnail” id=”1699″] This is one of my favorite roles. In 1995 the Cabrillo Music Theatre went all out to make this block buster show. 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Started my career working in Bob Simpson Revues at the Edgewater Beach and Del Prado Hotels in Chicago. Moved to NYC and landed my first Broadway show playing the role of Vito DiRossi in Richard Rodgers\/Steven Sondheim\/Arthur Laurents\u2019 Do I Hear A Waltz?. Next came George M!, Via Galactica (oh, the stories one can tell about this one week space odyssey disaster with music by Galt MacDermot and directed by Sir Peter Hall), 42nd Street, Sunset Blvd., The Scarlet Pimpernel and Pacific Overtures, originating the Sondheim songs Someone in a Tree and - extolling the merits of \u201cDetente\u201d - Please Hello. Toured with shows like Camelot (Mordred), J.C. Superstar (Herod), 42nd Street (Andy Lee - 3 years and over 1000 performances throughout the U.S.A.,Toronto & Tokyo) and Guys and Dolls (2 years as Harry the Horse). Kind of makes my head swim when I think of all of the cities we played for sometimes six months and other times just one night. Over the years, I\u2019ve had the good fortune to study acting with Mary Tarcai, Uta Hagen, Herbert Berghof and Bobby Lewis; voice with Keith Davis, Amelia Haas and Denes Striny; dance and movement with Edna McRae, Luigi and Anna Sokolow. I\u2019m deeply indebted to all of them for giving me the knowledge to create and maintain the craft. Being in NYC - and being in the the right place at the right time - gave me the opportunity to audition for Jerome Robbins\u2019 American Theater Lab, and asked to be one of the original members of the group. We had a rigorous schedule of daily classes which included improvisational and experimental theatre games (think Grotowski). Gregg Lawrence writes about our American Theater Lab in his book Dance with Demons: The Life of Jerome Robbins. And what actor doesn't consider a few years in Los Angeles? While living there, Equity Waiver Theatre was in full flower and my motto was \u201csuit up, show up, and say yes.\u201d This resulted with my becoming a six-time recipient of the Drama-Logue Critics Award. What a blast it was working with Ray Bradbury and Jose Feliciano creating the role of Villanazul in The Wonderful Ice Cream Suit at The Pasadena Playhouse, to also work with George Rose in the L.A. premiere of Drood !, to play the wacky Tristan Tzara in Travesties, Jigger in Carousel, Tom in That Championship Season and several roles in The Great American Playwrights Show (10 short plays, 10 different roles), which we took on a six city tour after it\u2019s run at the Odyssey Theater. Regional Theatre thrives around the country and it\u2019s been great playing diverse roles in Plaza Suite, Jekyll & Hyde, Breaking Legs, Nine, Annie Get Your Gun, Singin\u2019 in the Rain, The Sea Gull, Tovarich (doing a duet Charleston number with Ginger Rogers), Hello Dolly - with both Ann Miller & Betty Grable -, Romeo & Juliet, Kiss Me Kate (yeah,another gangster role), the King in The King and I, and last but certainly not least playing the role of Barnum for three months, walking the high wire while singing (as we crossed the Bermuda Triangle) aboard the S. S. Norway in the 700 seat Saga Theater. So many other shows and stories have happened through the years. Most recently I played yet another bad guy. This was a Casa Manana - Dallas Theater Center co-production of the play To Kill A Mockingbird. The role of Bob Ewell is now one of my favorite characters. He\u2019s a lean, mean, lyin, drunken, creep. Who, me ??? 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James Dybas Papers: Newberry Library - Chicago, IL https:\/\/mms.newberry.org\/detail.asp?id=814&alpha=D","sameAs":["https:\/\/JamesDybas.com"],"url":"https:\/\/performingartslegacy.org\/dybasjames\/author\/dybasjames\/"}]}},"_links":{"self":[{"href":"https:\/\/performingartslegacy.org\/dybasjames\/wp-json\/wp\/v2\/posts\/1698","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/performingartslegacy.org\/dybasjames\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/performingartslegacy.org\/dybasjames\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/performingartslegacy.org\/dybasjames\/wp-json\/wp\/v2\/users\/200"}],"replies":[{"embeddable":true,"href":"https:\/\/performingartslegacy.org\/dybasjames\/wp-json\/wp\/v2\/comments?post=1698"}],"version-history":[{"count":0,"href":"https:\/\/performingartslegacy.org\/dybasjames\/wp-json\/wp\/v2\/posts\/1698\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/performingartslegacy.org\/dybasjames\/wp-json\/wp\/v2\/media\/1449"}],"wp:attachment":[{"href":"https:\/\/performingartslegacy.org\/dybasjames\/wp-json\/wp\/v2\/media?parent=1698"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/performingartslegacy.org\/dybasjames\/wp-json\/wp\/v2\/categories?post=1698"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/performingartslegacy.org\/dybasjames\/wp-json\/wp\/v2\/tags?post=1698"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}