REVIEW
✭✭✭✭✭ 5/5
The Lincoln Center Theater
production of
RODGERS & HAMMERSTEIN’S
THE KING & I
Cliffs Pavilion, Southend on Sea
18-22 April 2023
Music by RICHARD RODGERS
Book and Lyrics by OSCAR HAMMERSTEIN II
Directed by Tony Award Winner BARTLETT SHER
✭✭✭✭✭ 5/5
The Lincoln Center Theater
production of
RODGERS & HAMMERSTEIN’S
THE KING & I
Cliffs Pavilion, Southend on Sea
18-22 April 2023
Music by RICHARD RODGERS
Book and Lyrics by OSCAR HAMMERSTEIN II
Directed by Tony Award Winner BARTLETT SHER
The King and I, the classic Rodgers and Hammerstein musical, is currently touring the UK, and last night it came to the Cliffs Pavilion in Southend. The production, which stars Call the Midwife's Helen George as Anna Leonowens and Darren Lee as the King of Siam, is certainly a visually stunning affair, with a large cast and a full-scale orchestra befitting of a musical of this calibre.
The King and I will perhaps be more familiar with audiences for the film version with numerous repeats on tv over the years, starring Yul Brynner and Deborah Kerr, which was made in 1956. Brynner had originally played the role of the King of Siam in the Broadway stage production and it was the role to which he was to become synonymous throughout his career and he was awarded the Best Actor Oscar for his portrayal.
Set in 1862, English widow Anna Leonowens travels to Siam with her young son to teach the children of the King, a powerful but somewhat isolated and chauvinist ruler. Anna is an independent woman who is not afraid to stand up for herself and, inevitably, the two clash at first but over time they come to respect each other, realising that both need each other in their lives.
There’s an old saying that goes something like, ‘they don’t make ‘em like they used to’; however, with this production I would beg to differ. I can’t remember the last time I saw a show that had a musical prelude before curtain up and this show’s orchestra, led by MD, Christopher Munday, certainly gave us a tremendous build up to the anticipated opening.
This really is a lavish set which looks sensational on the Cliffs Pavilion stage. Helen George proves herself more than worthy of the role of Mrs Anna, with a gutsy portrayal of the Governess who is not afraid to stand up to the abrasive King, and she also delivers some lovely vocals. Darren Lee certainly gives Yul Brynner a run for his money as the King and has really made this part his own. The King may be an imposing character but you can’t help but warm to his charm and humour. Lee brings a lot of depth to his portrayal of the King of Siam and the audience loved him.
This musical works so well because it gives so much to its key characters. Lady Thiang played by Cezarah Bonner could easily be played as the jealous wife but instead you can see a woman with a heart and this comes across in an emotional performance of Something Wonderful. Likewise the roles of Tuptim and Lun Tha, are beautifully portrayed and sung by Marienella Phillips and Dean John-Wilson. Phillips especially displaying the most hauntingly beautifully vocals in all of her numbers. Again, Caleb Lagyan’s role as Prince Chulalongkorn also stands out with a impressive all round characterisation and Harry Altoff, playing Louis Leonowens does a great job with his role.
The part in the musical that I have always found a little excessive in previous productions is the ‘play within a play’ where the Court relay the story of 'The Small House of Uncle Thomas', however, in this production it is wonderfully told with choreography that is stunningly mesmerising and shows off the dancing skills of the ensemble cast. There really isn't a weak link in this production. It also has some cracking songs, including I Whistle A Happy Tune, Getting to Know You, Hello Young Lovers and of course the Shall We Dance number where the King and Anna polka their way delightfully around the dance floor.
You certainly feel that this production of The King and I has been given the full West End treatment with beautiful staging and costumes together with a truly talented cast. It explores themes of cultural understanding, acceptance, and love with passion as well as humour, and is ultimately a story of hope for the future. This touring production of The King and I really is a triumph and a must see for all those theatrical traditionalists who like to see shows made ‘just like they used to!’
The King and I is playing at the Cliffs Pavilion, Southend until Saturday including matinees and is already selling very well. Grab your tickets now!
Review: Kim Tobin
The King and I will perhaps be more familiar with audiences for the film version with numerous repeats on tv over the years, starring Yul Brynner and Deborah Kerr, which was made in 1956. Brynner had originally played the role of the King of Siam in the Broadway stage production and it was the role to which he was to become synonymous throughout his career and he was awarded the Best Actor Oscar for his portrayal.
Set in 1862, English widow Anna Leonowens travels to Siam with her young son to teach the children of the King, a powerful but somewhat isolated and chauvinist ruler. Anna is an independent woman who is not afraid to stand up for herself and, inevitably, the two clash at first but over time they come to respect each other, realising that both need each other in their lives.
There’s an old saying that goes something like, ‘they don’t make ‘em like they used to’; however, with this production I would beg to differ. I can’t remember the last time I saw a show that had a musical prelude before curtain up and this show’s orchestra, led by MD, Christopher Munday, certainly gave us a tremendous build up to the anticipated opening.
This really is a lavish set which looks sensational on the Cliffs Pavilion stage. Helen George proves herself more than worthy of the role of Mrs Anna, with a gutsy portrayal of the Governess who is not afraid to stand up to the abrasive King, and she also delivers some lovely vocals. Darren Lee certainly gives Yul Brynner a run for his money as the King and has really made this part his own. The King may be an imposing character but you can’t help but warm to his charm and humour. Lee brings a lot of depth to his portrayal of the King of Siam and the audience loved him.
This musical works so well because it gives so much to its key characters. Lady Thiang played by Cezarah Bonner could easily be played as the jealous wife but instead you can see a woman with a heart and this comes across in an emotional performance of Something Wonderful. Likewise the roles of Tuptim and Lun Tha, are beautifully portrayed and sung by Marienella Phillips and Dean John-Wilson. Phillips especially displaying the most hauntingly beautifully vocals in all of her numbers. Again, Caleb Lagyan’s role as Prince Chulalongkorn also stands out with a impressive all round characterisation and Harry Altoff, playing Louis Leonowens does a great job with his role.
The part in the musical that I have always found a little excessive in previous productions is the ‘play within a play’ where the Court relay the story of 'The Small House of Uncle Thomas', however, in this production it is wonderfully told with choreography that is stunningly mesmerising and shows off the dancing skills of the ensemble cast. There really isn't a weak link in this production. It also has some cracking songs, including I Whistle A Happy Tune, Getting to Know You, Hello Young Lovers and of course the Shall We Dance number where the King and Anna polka their way delightfully around the dance floor.
You certainly feel that this production of The King and I has been given the full West End treatment with beautiful staging and costumes together with a truly talented cast. It explores themes of cultural understanding, acceptance, and love with passion as well as humour, and is ultimately a story of hope for the future. This touring production of The King and I really is a triumph and a must see for all those theatrical traditionalists who like to see shows made ‘just like they used to!’
The King and I is playing at the Cliffs Pavilion, Southend until Saturday including matinees and is already selling very well. Grab your tickets now!
Review: Kim Tobin
INTERVIEW
WITH CALL THE MIDWIFE’S
HELEN GEORGE
WHO STARS AS ANNA IN MAJOR UK TOUR OF
THE KING & I
18 – 22 April 2023
at Southend Cliffs Pavilion
KINGANDIMUSICAL.CO.UK
WITH CALL THE MIDWIFE’S
HELEN GEORGE
WHO STARS AS ANNA IN MAJOR UK TOUR OF
THE KING & I
18 – 22 April 2023
at Southend Cliffs Pavilion
KINGANDIMUSICAL.CO.UK
The King and I is the most sumptuous musical of them all. One of the great classic musicals from the “golden age” of Broadway musicals with one of the finest scores ever written including Shall We Dance and Getting to Know You.
It opens on the deck of a ship as it snakes up river at dusk, heading for a glimmering royal palace in 19th-century Siam. No production of the timeless classic by Rodgers and Hammerstein has managed to lay on a feast for the eyes quite like the one now touring the UK, following its record-breaking runs at the London Palladium and on Broadway and with an internationally renowned creative team headed by Bartlett Sher (My Fair Lady / To Kill a Mockingbird / South Pacific).
As it journeys around the World, audiences will be able to see for themselves what critics in New York and London all agree is a definitive version. “I doubt I’ll see a better production in my lifetime” said the Wall Street Journal when it opened at the Lincoln Center in 2015. “Breathtaking. Exquisite. Remarkable” agreed the New York Times. After winning four Tony Awards, it first arrived on these shores in 2018 to another chorus of cheers. The Daily Mail “left the London Palladium on a bright cloud of music”. “Looks and sounds ravishing,“ said the Daily Telegraph, while the Financial Times found it “simply spellbinding”.
The powerful spectacle staged by the acclaimed multi Tony Award-winning director Bartlett Sher (To Kill a Mockingbird, My Fair Lady, South Pacific) now welcomes two new stars to lead roles famously occupied by many before them. Helen George, star of Call The Midwife, returns to the stage after many years to play Anna Leonowens, a widow from Victorian England who has travelled to Bangkok to teach English to the King’s many children.
“I’d been wanting to do a musical for a while,” she says, “and I was waiting for the right one to come along and just couldn’t say no. It’s just such a classical musical theatre part.”
Though better known for bringing babies into the world on TV, her first job after drama college was in the ensemble of Andrew Lloyd Webber’s The Woman in White in 2004. She has since sung at the BBC’s VE Day 75th anniversary commemoration and on the cast album of Lloyd Webber’s Cinderella.
It opens on the deck of a ship as it snakes up river at dusk, heading for a glimmering royal palace in 19th-century Siam. No production of the timeless classic by Rodgers and Hammerstein has managed to lay on a feast for the eyes quite like the one now touring the UK, following its record-breaking runs at the London Palladium and on Broadway and with an internationally renowned creative team headed by Bartlett Sher (My Fair Lady / To Kill a Mockingbird / South Pacific).
As it journeys around the World, audiences will be able to see for themselves what critics in New York and London all agree is a definitive version. “I doubt I’ll see a better production in my lifetime” said the Wall Street Journal when it opened at the Lincoln Center in 2015. “Breathtaking. Exquisite. Remarkable” agreed the New York Times. After winning four Tony Awards, it first arrived on these shores in 2018 to another chorus of cheers. The Daily Mail “left the London Palladium on a bright cloud of music”. “Looks and sounds ravishing,“ said the Daily Telegraph, while the Financial Times found it “simply spellbinding”.
The powerful spectacle staged by the acclaimed multi Tony Award-winning director Bartlett Sher (To Kill a Mockingbird, My Fair Lady, South Pacific) now welcomes two new stars to lead roles famously occupied by many before them. Helen George, star of Call The Midwife, returns to the stage after many years to play Anna Leonowens, a widow from Victorian England who has travelled to Bangkok to teach English to the King’s many children.
“I’d been wanting to do a musical for a while,” she says, “and I was waiting for the right one to come along and just couldn’t say no. It’s just such a classical musical theatre part.”
Though better known for bringing babies into the world on TV, her first job after drama college was in the ensemble of Andrew Lloyd Webber’s The Woman in White in 2004. She has since sung at the BBC’s VE Day 75th anniversary commemoration and on the cast album of Lloyd Webber’s Cinderella.
As for dancing, she took the dancefloor by storm on Strictly in 2015, so she won’t have any trouble with “Shall We Dance?”. In the show’s climactic song, Anna and the King dance a sweeping polka that is an ecstatic meeting of minds, hearts and, most of all, feet.
“When we do this incredible dance I wear this incredible dress,” she says. “I’m as big as a house. In the rehearsal room everybody has had to get out of the way. I lift up the skirt and drag scripts and tea cups with me along the way. It weighs ten pounds and it’s uncomfortable but this was the life of a Victorian woman.”
The role of the strutting, domineering King of Siam will always carry a trace memory of Yul Brynner, who clung to it tenaciously for 34 years and 4,600 performances. However, returning to the role is Broadway star Darren Lee, who has himself made the role his own since he first played it there in 2016. “I started my career primarily as a dancer so early on it was not on my radar,” says Lee “but growing up as an Asian American performer you know that there is this role, and it sits within the top five to ten shows of classic musicals.”
It also represents a wonderful opportunity to see a parade of talented young performers dressed to the nines in beautiful costumes. The King’s large brood of cute children is played on this tour by eighteen actors ranging in age from 13 down to only seven.
The story of a young English widow who takes a job teaching the children of the King of Siam is one of the big five from composer Richards Rodgers and lyricist Oscar Hammerstein II. Most will know it from the 1956 film which won five Oscars. And yet it’s in a theatre that The King and I really needs to be seen.
The King and I is a multi-generational musical, and generations of families come together to see it. That means there is a new generation who, like Helen George, won’t realise much loved songs such as “I Whistle a Happy Tune” and “Getting to Know You” belong to The King and I,. “I went to see the show when I was seven or eight when I was growing up in Birmingham,” she says. “I haven’t gone back and watched the film because I need to find Anna myself, and I hadn’t realised how many songs she sings. I knew them but I hadn’t quite figured they were all together in this show.”
It’s an oddity of The King and I that the musical duties are shared out far from equally. Anna, the “I” of the title, gets most of the best tunes. The King has just one number on his own. Composed with Brynner’s limited singing abilities in mind, “A Puzzlement” is a high-speed patter song in which an absolute monarch puzzles how to reconcile tradition and modernity. Darren Lee compares it the songs written for Henry Higgins to deliver in My Fair Lady.
“The show was crafted to maximise that person’s acting ability without exposing him too much as a singer,” he says. “‘A Puzzlement’ does not melodically do a lot so you have to be able to deliver it like a monologue. But it allows you to express a large range of emotion.”
The reason he’s singing it goes to the heart of The King and I, and explains its continuing relevance. Siam, which became known as Thailand only two years before the musical’s premiere, was surrounded in the 19th century by countries which were colonised by Britain or France.
“The King brings Anna to teach his children English because he’s concerned that being a tiny country it is very easily swallowed up by other countries,” says Darren Lee. “I would argue that it’s completely current,” agrees Helen George. “What’s so brilliant about this progressive king is he is passionate about educating his daughters.”
The woman he chooses to teach his children is based on an intriguing figure from the mid-Victorian era. The real Anna Leonowens kept a diary of her time in Siam in the 1860s. It was published in 1870 and remain a fascinating snapshot of a hidden world emerging into the light. Three quarters of a century later, the novelist Margaret Landon fell on the journal as a rich source for a heavily fictionalised reimagination of her story entitled Anna and the King of Siam. That was instantly snapped up by Hollywood producer Darryl F. Zanuck and filmed with Rex Harrison.
Then Rodgers and Hammerstein decided to make it into a musical. A story about Siamese royalty might have seemed unusual for a duo whose shows were all about Americans. But in South Pacific, their most recent hit, they had tackled the issue of racism head on. The King and I was also about promoting harmony between cultures.
This is most apparent in the show-within-a-show in the second half. To impress visiting diplomats with Siam’s project to modernise, the king commands Anna to stage a version of Uncle Tom’s Cabin, the book by Harriet Beecher Stowe which in the 1860s was a very current commentary on slavery. It doubles as a wonderful opportunity for dazzling spectacle, courtesy of Jerome Robins’ astounding original choreography (restaged by Christopher Gattelli), set designer Michael Yeargan and costume designer Catherine Zuber.
In Anna and the King, we see two worlds collide not just geographically and culturally but also of course in terms of gender and wealth. He is the magnificent one and she the servant. But through compromise on both sides comes genuine respect and love. The critical acclaim for Bartlett Sher’s Production is phenomenal – a captivating, sumptuous revival of Rodgers and Hammerstein’s production that reminds us that human nature is timeless.
With a stunning score, given the full velvet touch by a sublime orchestra, exquisite costumes, a stellar cast that discovers dark, rich, exotic layers through incredible storytelling and the most charming and endearing group of young children performers, you have the ultimate classical musical theatre show. It’s rare to feel such warmth and delight about a production but The King And I delivers that and so much more in abundance.
Interview by Jasper Rees
Then Rodgers and Hammerstein decided to make it into a musical. A story about Siamese royalty might have seemed unusual for a duo whose shows were all about Americans. But in South Pacific, their most recent hit, they had tackled the issue of racism head on. The King and I was also about promoting harmony between cultures.
This is most apparent in the show-within-a-show in the second half. To impress visiting diplomats with Siam’s project to modernise, the king commands Anna to stage a version of Uncle Tom’s Cabin, the book by Harriet Beecher Stowe which in the 1860s was a very current commentary on slavery. It doubles as a wonderful opportunity for dazzling spectacle, courtesy of Jerome Robins’ astounding original choreography (restaged by Christopher Gattelli), set designer Michael Yeargan and costume designer Catherine Zuber.
In Anna and the King, we see two worlds collide not just geographically and culturally but also of course in terms of gender and wealth. He is the magnificent one and she the servant. But through compromise on both sides comes genuine respect and love. The critical acclaim for Bartlett Sher’s Production is phenomenal – a captivating, sumptuous revival of Rodgers and Hammerstein’s production that reminds us that human nature is timeless.
With a stunning score, given the full velvet touch by a sublime orchestra, exquisite costumes, a stellar cast that discovers dark, rich, exotic layers through incredible storytelling and the most charming and endearing group of young children performers, you have the ultimate classical musical theatre show. It’s rare to feel such warmth and delight about a production but The King And I delivers that and so much more in abundance.
Interview by Jasper Rees
Helen George, known to millions for the past decade as Trixie in the hit BBC One series Call The Midwife, will star as Anna Leonowens in a major new UK tour of the beloved Rodgers and Hammerstein musical The King and I, beginning at Canterbury’s Marlowe Theatre on 4 February. Having trained at the Royal Academy of Music and the Birmingham School of Acting, Helen’s musical theatre credits include Company, Love Never Dies and The Woman In White.
This gloriously lavish production will be brought to the stage by an internationally renowned creative team under Tony Award-winning director Bartlett Sher (South Pacific / My Fair Lady / To Kill a Mockingbird) and will feature a world-class company of over 50 talented performers and a full-scale orchestra.
Following a critically acclaimed Broadway smash-hit run, a sold-out season at the London Palladium (which resulted in the biggest global live event cinema release of 2018) and a previous record-breaking UK and International tour, this multi-Tony Award-winning production returns to venues all over the country next year – visiting Canterbury, Wimbledon, Liverpool, Birmingham, Llandudno, High Wycombe, Bristol, Dartford, Bradford, Southend, Cardiff, Glasgow and Dublin. Further UK cities and details of a major international tour will be announced soon.
Helen George said: “Theatre is my first love, and I am so excited to be returning to the stage for this beautiful, majestic production of The King and I. I was blown away when I saw Bartlett Sher’s staging of this wonderful show, so I can’t wait to work with him and the rest of the creative team to bring this timeless story back to the stage next year. Anna is such a strong, passionate and determined character, and I’m going to relish bringing her to life every night, as well as giving audiences all over the UK the chance to see this peerless Broadway and West End musical right on their doorstep.”
The critical acclaim for Bartlett Sher’s production has been phenomenal. When the show opened at the London Palladium in 2018, West End critics heaped praise on the show: the Daily Mail “left the London Palladium on a bright cloud of music”, while the The Times awarded the show “Five stars for a sumptuous King and I” declaring it “a hit”. Daily Express hailed it “London’s theatrical event of 2018” whilst The Daily Telegraph concurred proclaiming the show “looks and sounds ravishing”. Another five stars were awarded from the Sunday Express and the Financial Times called it “simply spellbinding”.
The King and I is a sumptuous, timeless romance from the golden age of musicals, adored by the public and critics alike – and boasting one of the finest scores ever written, including Whistle a Happy Tune, Getting to Know You, and Shall We Dance.
Set in 1860s Bangkok, The King and I tells the story of the unconventional and tempestuous relationship that develops between the King of Siam and Anna Leonowens, a British schoolteacher whom the modernist King, in an imperialistic world, brings to Siam to teach his many wives and children.
Further casting for the UK tour will be announced soon.
THE KING AND I – 2023 UK TOUR DATES
7 – 11 March
Llandudno Venue Cymru
14 – 18 March
High Wycombe Swan Theatre
28 Mar – 1 April
Bristol Hippodrome
4 – 8 April
Dartford Orchard Theatre
11 – 15 April
Bradford Alhambra Theatre
18 – 22 April
Southend Cliffs Pavilion
25 – 29 April
Cardiff New Theatre
2 – 6 May
Hull New Theatre
16 – 20 May
Glasgow Kings Theatre
27 June – 1 July
Dublin Bord Gáis Energy Theatre
*Helen George will perform on Wednesday – Saturday performances, at venues up to and including Cardiff New Theatre
LISTINGS INFORMATION
Website: KingandIMusical.co.uk
Twitter: @thekingandiuk
Facebook: @thekingandiuk
Instagram: @thekingandiuk
This gloriously lavish production will be brought to the stage by an internationally renowned creative team under Tony Award-winning director Bartlett Sher (South Pacific / My Fair Lady / To Kill a Mockingbird) and will feature a world-class company of over 50 talented performers and a full-scale orchestra.
Following a critically acclaimed Broadway smash-hit run, a sold-out season at the London Palladium (which resulted in the biggest global live event cinema release of 2018) and a previous record-breaking UK and International tour, this multi-Tony Award-winning production returns to venues all over the country next year – visiting Canterbury, Wimbledon, Liverpool, Birmingham, Llandudno, High Wycombe, Bristol, Dartford, Bradford, Southend, Cardiff, Glasgow and Dublin. Further UK cities and details of a major international tour will be announced soon.
Helen George said: “Theatre is my first love, and I am so excited to be returning to the stage for this beautiful, majestic production of The King and I. I was blown away when I saw Bartlett Sher’s staging of this wonderful show, so I can’t wait to work with him and the rest of the creative team to bring this timeless story back to the stage next year. Anna is such a strong, passionate and determined character, and I’m going to relish bringing her to life every night, as well as giving audiences all over the UK the chance to see this peerless Broadway and West End musical right on their doorstep.”
The critical acclaim for Bartlett Sher’s production has been phenomenal. When the show opened at the London Palladium in 2018, West End critics heaped praise on the show: the Daily Mail “left the London Palladium on a bright cloud of music”, while the The Times awarded the show “Five stars for a sumptuous King and I” declaring it “a hit”. Daily Express hailed it “London’s theatrical event of 2018” whilst The Daily Telegraph concurred proclaiming the show “looks and sounds ravishing”. Another five stars were awarded from the Sunday Express and the Financial Times called it “simply spellbinding”.
The King and I is a sumptuous, timeless romance from the golden age of musicals, adored by the public and critics alike – and boasting one of the finest scores ever written, including Whistle a Happy Tune, Getting to Know You, and Shall We Dance.
Set in 1860s Bangkok, The King and I tells the story of the unconventional and tempestuous relationship that develops between the King of Siam and Anna Leonowens, a British schoolteacher whom the modernist King, in an imperialistic world, brings to Siam to teach his many wives and children.
Further casting for the UK tour will be announced soon.
THE KING AND I – 2023 UK TOUR DATES
7 – 11 March
Llandudno Venue Cymru
14 – 18 March
High Wycombe Swan Theatre
28 Mar – 1 April
Bristol Hippodrome
4 – 8 April
Dartford Orchard Theatre
11 – 15 April
Bradford Alhambra Theatre
18 – 22 April
Southend Cliffs Pavilion
25 – 29 April
Cardiff New Theatre
2 – 6 May
Hull New Theatre
16 – 20 May
Glasgow Kings Theatre
27 June – 1 July
Dublin Bord Gáis Energy Theatre
*Helen George will perform on Wednesday – Saturday performances, at venues up to and including Cardiff New Theatre
LISTINGS INFORMATION
Website: KingandIMusical.co.uk
Twitter: @thekingandiuk
Facebook: @thekingandiuk
Instagram: @thekingandiuk
WHAT THE UK PRESS HAVE SAID ABOUT THE KING AND I:
★ ★ ★ ★ ★
“Five stars for a sumptuous King and I. Book Now. It’s a hit”
The Times
★ ★ ★ ★ ★
“Songs, sentiment and spectacle. Sher’s production delivers these in spades”
Sunday Express
★★★★
“We left the London Palladium on a bright cloud of music - joyous!”
Daily Mail
★★★★
“Looks and sounds ravishing. Complete rapture”
Daily Telegraph
★★★★
“Simply spellbounding!”
Financial Times
“Without doubt the big, glitzy musical of the summer!”
Metro
“Fit for a King!”
Daily Express
★ ★ ★ ★ ★
“Five stars for a sumptuous King and I. Book Now. It’s a hit”
The Times
★ ★ ★ ★ ★
“Songs, sentiment and spectacle. Sher’s production delivers these in spades”
Sunday Express
★★★★
“We left the London Palladium on a bright cloud of music - joyous!”
Daily Mail
★★★★
“Looks and sounds ravishing. Complete rapture”
Daily Telegraph
★★★★
“Simply spellbounding!”
Financial Times
“Without doubt the big, glitzy musical of the summer!”
Metro
“Fit for a King!”
Daily Express