South Pacific

Put together a dish of Tony Award nominees/recipients and a deeply moving drama with an exhilarating musical score on the side for a five star meal you won’t forget – South Pacific. First performed half a century ago, Rodgers & Hammerstein puts this exotic beauty back on stage as a Broadway musical with a re-invigorated passion.

South Pacific explores and challenges many cultural views of Western society during the 1940s, namely the abhorrence of romance with Eastern natives. Forbidden love outlines this story’s drama; impulse fills it. As the story is set in the times of the second Great War, we also get a nice insight into the lives of American soldiers who were fighting the Japs amidst an unknown territory. The soldiers provide jokes and other comical debriefs that cast the musical in a more cheery mood, despite the nature of the drama being told.

With South Pacific, there is something else besides music to appreciate. It’s like eating a slice of cheesecake, only to find a layer of sweet, chocolate filling in the middle. You hear the music and you watch the comedy, and you think to yourself, “It’s damn good.” But then, you discover that there is a message the play is trying to convey, something explicitly woven into the long dialogues of the protagonists, that sweet chocolate filling, and you think to yourself, “It’s better than damn good.”

Lincoln Center Theater’s Rodgers and Hammerstein’s South Pacific is the first “Broadway” revival of the show since its opening nearly 60 years ago. As one enters the theater, there is a script spread across the stage, upon which are projected the first few sentences of James Michener’s “Tales of the South Pacific,” the book upon which the show was based: “I wish I could tell you about the South Pacific. The way it actually was. The endless ocean. The infinite specks of coral we called islands. Coconut palms nodding gracefully toward the ocean. Reefs upon which waves broke into spray, and inner lagoons, lovely beyond description. I wish I could tell you about the sweating jungle, the full moon rising behind the volcanoes, and the waiting. The waiting. The timeless, repetitive waiting.”
The story takes place in the South Pacific, during World War II. Seabees and nurses are stationed there, and they live their lives. The Island of Bali-Hai was the metaphor for their existence, wonderful, mysterious, and unpredictable. The performances of the Seabees, their dances, and the songs, kept me on the edge of my seat. Every song was catchy and every Seabee was exciting to watch.
From the moment the glorious music of Richard Rogers and Oscar Hammerstein was delivered from the 30-piece orchestra, I was stunned. The haunting and beautiful melodies sung by the Seabees and the nurses got stuck in my head, waiting impatiently to be sung. After seeing the show, I quietly hummed them in my head.  The beautiful scenic design makes the story even more enchanting and wonderful.
We, as the audience, witness how Nellie Forbush is transformed into a confident woman. I thought she performed with utmost ease and really fit into the role of her character. Her romance with Emile de Beque, the French plantation owner, redefines her view of the world and of herself. Emile de Beque’s performance was outstanding, the deep and stunning voice brought goose bumps to my skin. I even felt as if her were singing to me.
The other love story, between Lieutenant Joe Cable and Liat, Bloody Mary’s daughter, went on even through society’s racial prejudice (most of the society didn’t approve the relationships between whites and Tonks). I thought Liat’s performance was too brief, she didn’t really show enough of her character. The handsome Lieutenant Cable subtly acted his character and showed us what it is like to go against society and follow your heart.
Even though it lasted for more than three hours, its sweet ending left me speechless and gasping for more. It was more than the typical Broadway show, it was a show every one of us deserves to see and experience.

The lights dim and the orchestra strikes a chord, pulling the audience into their seats.  As the overture concludes the stage silently creeps over the musicians’ heads, pushing the world of South Pacific into the world of the audience.  As the play progresses a giant airplane is brought on stage, setting it for the SeaBees to belt out their raucous rendition of “There Ain’t Nothing like a Dame”.  Their antics and underdog bromance keep the play glued together throughout the night, with the many plot lines separated by the different styles each actor will take with their role. 
If left to those that played Nellie Forbush and Emilie de Beque, the whole show would be a sappy soap, over dramatic and full of desperately longing looks.  The actor who played Luther Billis brought the right kind of crass and gut to the stage, leading his men in wild schemes and bantering with Bloody Mary. The actress was, thank goodness, the understudy, because if that were whom they always had on stage the show would’ve flopped months ago.  She played the part with precision, which does not do the part justice due to Mary’s unwieldy nature.
Joe Cable’s string of story, while the part was played extremely well, was tainted with creepiness whenever Liat was around because of poor blocking and direction.  In other words, I never had thought of Bloody Mary as a voyeur, but on this stage she was peering through the trees, hoping to see her girl get lucky.
The songs are all well sung and the lines all satisfactorily delivered, but each actor portrayed a caricature rather than a character, with is fine for Luther Billis and his rowdy band, but not for the main characters .  Emilie cannot merely be a sighing Frenchman; Nellie needs to be more then a cheerful blonde, Bloody Mary more then a crazy local.
Personally, I think reviving Rodgers and Hammerstein should just not be done.  They had their time and now it’s time to move on from their simple writing and childish songs.  They may have all sorts of meaning behind their writing, but the meaning is not worth sitting through a play that elementary school students are known to do well.

what ain't they got?

Ladies and Gentlemen, there is sunlight on the sand and dames aplenty in the sparkling new revival of Roger and Hammerstein’s “South Pacific” regardless of what twinkling hedonist Luther Billis’ (as played by a cheeky Danny Burnstein) groans.

Stepping into the theater I instantly felt a sense of glee and burning anticipation in the crowd. This anticipation was not misplaced as I observed that many of the beaming theatergoers were probably old enough to have seen the original “South Pacific”.  I wondered if this musical was good enough to see more than once and after watching it, I am sure it is. Their anticipation slowly changed into participation as I was touched by many couples sitting side by side slowly singing along or mouthing the words. My peers and I may not have been in the same situations but the wonderful thing about “South Pacific” and its classic score is simply that. It is classic and will always be relevant. It is a multifaceted gem of sorts to be handed down from generation to generation and to bridge the generation gap.

Dancing sailors, buff baritones and naïve nurses, Machiavellian islanders all entangled in some way in the other, other side of the pond on a small island during World War Two. Simple enough right? Mix in to these already mixed relations the themes of romance and prejudice (oh and don’t forget war ) on an island far away from Princeton. Suddenly the backhanded accusations of people who say that Rogers and Hammerstein took too much of a lighthearted approach to addressing these issues are silenced by the brooding and gaunt Lt. Cable and thus we are “carefully taught”. Poor, poor Liat, the daughter of a not so innocent but certainly more obscenely amusing Bloody Mary played by Loretta Ables Sayre brings out a self torture in Lt. Cable and even the passive audience member who tries to reconcile their nature with their upbringing.  It is only fair to say that this remains relevant today.

It is easy to oversimplify things in the pursuit of a quick, convenient exchange of ideas. Good thing this musical in particular incorporated the choreography, sets, character studies and songs that were simple but remained true to the old time good feelings of the era of the greatest generation. As the bamboo screens parted to reveal aesthetically airy arches and then revealed a simple makeshift stage or the beach. The choreography itself was not too fussy and its simplicity only added to the charm of the musical.

I myself resisted the impulse to softly sway to Paulo Szot’s particularly rich baritone as he graced the stage with the youthful cock-eyed optimist that was and is the fresh Kelli O’Hara, but I have to say that I found myself humming incessantly. For a first time viewer of “South Pacific” I think that is enough. I look forward to a next time. In fact, I anticipate it and that is half the joy that this musical brings.

           Opening the play with “Dites-Moi,” Paulo Szot as Emile de Becque, begins his superb vocal performance. Alongside his two children, Szot’s effortless command and graceful singing captures the audience. Kelli O’Hara as Nellie not only nails her character’s hick accent and persona, but she too wins over the audience with her voice. The duo’s “Some Enchanted Evening,” allows the audience to identify with the romance, passion, and tension one feels with a new love.
           The orchestra conducted by Ted Sperling does a marvelous job of mirroring and emphasizing the events occurring on stage. Whether it’s the desperate pleasure-seeking sailors singing the memorable number “There’s Nothin’ like a Dame,” or the more serious “You’ve Got to be Carefully Taught,” the orchestra sets the mood and captures all the emotions.
           The smooth transition of scenes and dynamic stage props, made it virtually unnoticeable when the setting dramatically transitioned from inside the Commander’s office, to Emile’s lavish plantation, to the navy base, or to Bali Ha’i.
           Although she was the understudy, Maryann Hu entertained the crowd with Bloody Mary and her “fo dollah” beckoning, and manipulation of the sailors. Perhaps one of the comedic highlights was when Danny Burstein, portraying Luther Billis, dressed in drag, teasing and entertaining the sailors with Nellie and the other nurses.
           There’s never a dull moment in South Pacific, as the play goes through many ups and downs, while always keeping the passion, chemistry, and charisma at its peak. Whether it’s Nellie who’s “corny as Kansas in August, High as a flag on the fourth of July,” or the suave and mysterious Emile De Becque, each actor goes beyond fully playing the part, they become the part. The energy created by the teamwork and harmony of all the elements coming together makes South Pacific a riveting musical.

About this picture: There are two pieces of white chocolate, joined at the middle. One is surrounded by pieces of other pieces of white chocolate while the other is surrounded by pieces of milk chocolate. The latter is supposed to represent Emile and his life in a multi-cultural world and the former is supposed to represent Nellie and her life in a uniform world.

What makes a love story timeless? Is it the romantic emotion that characters display to an audience? Or is it the conflict that each involved character must face in order to know love? Or could it be the conclusion of the story that really wins the heart of an audience? Surely, Rodgers and Hammerstein’s play South Pacific answers all of these questions. In the Lincoln Center Theatre in New York, NY, it brings an unconventional love story to life on a stage which, with its realistic backdrop and impeccable lighting, provides a clear picture of the South Pacific.

South Pacific is based on James Mitchener’s “Tales of the South Pacific,” a novel through which he conveyed his experiences during World War II. Within the novel are numerous accounts that link various characters together. Unlike the novel, however, the play focuses on a narrow scope of events. Not coincidentally, Rodgers and Hammerstein choose from the novel tales that stir up a magical musical and enchant audiences everywhere. These tales range from a woman attempting to pave the way for her daughter to live a comfortable life to an all-American girl trying to adapt to a world that challenges her beliefs.

At the beginning of the play, the audience encounters one of the most typical aspects of a musical: the inclusion of a love story. The couple in this case consists of Nellie Forbush (Kelli O’Hara), a young Southern nurse and Emile de Becque (Paulo Szot), a French planter. The musical pieces in the play are geared to tackle the emotions of the two lovers (most notably, “Some Enchanted Evening”),with the exception of a few comical pieces. In addition, the couple is provided a setting of romantic islands in the South Pacific which would expectantly advance their love.

What the audience least expects to form a wedge between the two are racial issues; issues which, during Mitchener’s time, were prevalent. These issues also coexist between a couple within the subplot of the play: Lieutenant Cable and Liat. While Lt. Cable happens to be a strapping Marine from the upscale parts of Philadelphia, PA, Liat is seen as a young Tonkinese woman who lives a completely different lifestyle. There to fuel their romance is Bloody Mary, a Tonkinese elder portrayed as an opportunist who benefits monetarily from the American soldiers’ presence in the South Pacific. Although Liat and Cable’s romance arouses the attention of the audience, Emile’s hidden secrets are what really draw them in.

Some critics believe that Said’s view on Orientalism, which holds that Westerners look down on Easterners through the promotion of stereotypes (e.g. bad English, not very educated) is well and alive in South Pacific through the character Bloody Mary. But they fail to realize a stereotype of the West carried through Nellie Forbush. Nellie, who hates the idea that Emile loved someone a different color from them, acts as the typical racist Southern American. Being that this is part of the main plot, one would expect them to realize this portrayal.

Moreover, although the play may have a solid plot, a flaw may just exist in the play’s disconnection from some other tales in the novel. For these tales hold in them information on Nellie’s past through which the audience would have connected with her more deeply. Yet again, if all of the tales from the novel were included in the play, the audience would get lost in a heavily-detailed plot.

These facts aside, South Pacific does not fail to get its message across. It reveals the major issue of racism within its animated performance and attacks popular belief during the 1940s. And for such a play to continue successfully into our time must mean that it truly is timeless.

Bartlett Sher’s revival of the 1950’s Rogers and Hammerstein musical “South Pacific” is more like a rebirth. The production illuminates the controversy that played such a big part in the original production. Unlike most revivals, “South Pacific” is not a foggy reenactment of an outdated show; it is brought to us in full color, with all the vivacity of the first showing.
The stars of the show, Kelli O’Hara and Paulo Szot, manage to recreate the flame of intrigue and excitement that dazzled us in Michener’s novel, on which the play was based. O’Hara who plays Nurse Nellie, falls under the spell of wealthy French plantation owner Emille (Szot) as she struggles to reconcile her decision to leave Little Rock, Arkansas. Love blossoms (in less lurid detail than with Captain Cable and his lover, Liat) until Nellie becomes aware of Emile’s cross-cultural past. The political message of “South Pacific” is no less applicable today than it was in the past. However, most audience members are drawn to the production because of the highly polished cast and orchestra.
Both O’hara and Szot are indubitably talented; the range of songs in “South Pacific” is unlike any other. From the buoyant and sassy, “Wash that man right out of my hair” to the mysteriously tropical “Bali Hai,” the production’s song set alone is enough to keep the audience pleased. To add to the experience, the “South Pacific” set is magnificently structured and designed. The ambience of the Southeast Asian Island that readers enjoyed so thoroughly in the novel is recreated in Lincoln Center in its entirety. One wonders how the crew transforms the stage from Emile’s grandiose mansion to Bloody Mary’s sandy beaches with such an effortless precision. Both the song and set contribute to the passionate experience sought after by South Pacific viewers.

Source: www.broadway.com

As Luther Billis and company declare what exactly is unlike anything else in the world while Nellie Forbush washes charming Emile de Becque out of her hair, it becomes obvious that spunk is something Rodgers’, Hammerstein’s, and Logan’s South Pacific delivers in spades.  Drawing from James A. Michener’s Tales of the South Pacific, Bartlett Sher’s endeavor is an enjoyable experience that fails to be anything more socially responsible.
The problem lies not in the concept but the direction.  Despite having the original Broadway production, winner of the Pulitzer Prize for Drama, and Michener’s novel, a cold and painful criticism of our society, available for reference, the 2008 revival pushes more towards being a comedy, something the very fabric of the story doesn’t allow.  The plot revolves around the lives of soldiers tied in war, a woman whose mindset is as broad as her hometown of “Small Rock,” a young soldier tied between tradition and love, a man losing his love because of those same traditions, and a woman desperately trying to find someone to take care of her child when she isn’t there, all of which are topics so bleak that comedy is out of the question.  While it can be argued that many satires have comedic elements with characters in even worse situations, the ridge between satire and comedy is a very fine line to walk and this production clearly crossed over to the other side.
Despite this, the play does have its charms. Looking past the aforementioned issue, the play does the comedy part with noticeable pizzazz.  Paulo Szot and Kelli O’Hara deliver their comedic lines in a realistic way that makes the jokes laughable without making the dialogue as such.  Matthew Morrison is a weakness of the production, delivering his lines without that slight exaggeration that is crucial in a medium without facial close-ups.  The original Bloody Mary was not in show that day and the replacement, while comical, was a poor choice and far too young to play the part of a desperate mother and wise salesman.  But without a doubt, the star of the show is Luther Billis, brilliantly portrayed by Danny Burstein.  Burstein is full of energy, stealing scene after scene from his co-actors without ever coming off as annoying.  It is largely due to his brilliant portrayal that one can laugh at this play, despite its neglected dark undertones.
On the technical side of things, the play is nothing remarkable.  The sets are efficiently made and there are no awe-inspiring moments in any way due to the lighting, sound, costumes, etc.  On technical merits alone, the play definitely gets the job done, making the setting passable but never bringing it to life.
South Pacific had the potential to be something more than just entertainment, seeing as how it touches on problems still present in our society today.  That having been said, it truly is a charming, energetic production and definitely inspires laughs but nothing more.

It was over fifty years ago that James Michener wrote Tales of the South Pacific. It was fifty years ago that Michener’s play was first made into a movie. And now, Richard Pearce directs his own version of the critically acclaimed novel. Pearce’s musical adaptation of the book and Rodgers and Hammerstein’s play is impeccable. A wonderful cast, beautiful music, and a stunning setting, come together to create a great film portraying the hardships and tensions of life at war and away from home.
One thing that makes the movie so enjoyable is the great transition from the text to film. For someone who has read Michener’s book, they will be greatly pleased to find Glenn Close playing the part of Nellie and Harry Connick Jr. playing the part of Lt. Cable. The casting is great because the actors portray the characters from the book very accurately. We surely get the impression of Nellie as a Midwestern girl longing to see the outside world. And we most certainly see Lt. Cable as the physically strong yet emotionally weak persona, who is conflicted with his relationship with a dark-skinned girl. Robert Pastorelli must also be given credit for very successfully playing the role of Luther Billis. Always walking with his shirt opened, and revealing the tattoos on his body, Pastorelli personified Billis’s relaxed, open-minded and conniving nature very well.
Of course, a good cast would probably not be so good in a movie with a poor setting. So of course, Pearce created the most beautiful places for his plot to unfold. The same way as one reads Michener’s novel and imagines the serene blue ocean, palm trees swaying in the breeze, and white sand beaches, one can marvel at these gorgeous live illustrations in the motion picture as well. You get the feeling that you are actually in the South Pacific alongside the characters.
To add to the mood, which the setting creates, the music also touches the soul. Pearce chose to make his rendition of South Pacific into a musical, and in this feat, he placed some great songs. Songs such as “I’m Gonna Wash That Man Right Outta My Hair” and “I’m In Love With A Wonderful Guy”, make this film truly energetic, lively, and fun to watch. Along with jumpy tunes accompanied by dances, the film also does a good job by creating a traumatic and war-like effect as well. The movie is essentially about war, and Pearce does a great job at conveying this theme as well.
Richard Pearce really shows his talent as a director in this musical rendition of South Pacific. The film brilliantly captures the feelings and emotions of the novel, and translates them into motion picture. A distinguished cast, great music, and well-crafted script make this thing work. South Pacific is a great success.