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This
year marks the 75th
anniversary of Rodgers and
Hammerstein‘s
Pulitzer Prize winning
musical South Pacific. The
groundbreaking work with a
book by Oscar Hammerstein
II (in collaboration with
Joshua Logan) and music by
Richard Rodgers opened on
Broadway in 1949 with the
cast that included Mary
Martin and Ezio Pinza. The
show went on to win ten
Tonys, including Best
Musical, and to crown that
achievement with the
Pulitzer Prize for drama -
only the second musical to
ever be so honored.
Following on the heels of the duo’s successful Oklahoma,
South Pacific,
nonetheless. experienced
an uphill battle on its
road to the Great White
Way. One of the
first book musicals in the
history of the genre, it
dealt with themes that
were considered
provocative - even taboo-
in its time, and its
format defied the rules of
conventional Broadway.
Rodgers and
Hammerstein boldly took on
the issues of racism,
prejudice and culture
conflict in America; they
not only decried the
destructive ugliness or
that cancer, but they
refused all attempts to
remove these discussions
from the show. They
even went further to
insist that whenever the
musical toured, it played
only to integrated houses. South Pacific eschewed the trappings of glittery dance musicals popular at the time; it did away with a dance ensemble and chorus, substituting instead an ensemble filled with individualized, named characters, and it conferred the leading roles on a Broadway belter, Mary Martin, and an opera singer, Ezio Pinza.
Perhaps much of the
success of the plot
derives from the fact that
the story of South Pacific was sourced from James Michener‘s Pulitzer Prize winning collection of stories, Tales of the South Pacific.
Mitchener’s raw
prose, historical
authenticity, cast of
indelible characters
framed in an unique and
unforgettable voice.
While Hammerstein and
Logan re-imagined some of
the plot and characters,
they retained
Michener’s wrenching
conflicts and parallel
love stories.
The difficulty with
revivals of iconic
productions is that the
original has become so
fixed in memory that
comparisons are
inevitable. But on this
75th anniversary, I had
the opportunity to attend
a stunning revival of South Pacific, co-produced by Maine Street Music Theatre and the Fulton Theatre (Lancaster, PA). It opened MSMT’s 2024 season at the Pickard Theater in Brunswick, Maine on June 6th.
The production demonstrates how prescient, powerful, and entirely
entertaining South Pacific remains, and how it continues to speak to a
new audience. Perhaps the secret to the success of this work’s survival
has been the willingness of the creatives to be respectful of the
legacy and sensitive to contemporary context. Marshalling the
companies’ considerable artistic resources, this 75th anniversary
production is musically glorious, visually lush, and packed with
emotion and talent.The tightly written script helped define “book
musicals.” It offered theatre-goers a coherent, issue-driven plot told
not only in magnificent musical moments but also in intense, dramatic
ones, punctuated by just the right amount of comic relief.
Heartwarming, but also heart wrenching, it offers a powerful evening
in the theatre.
Directed by Marc Robin and Curt Dale Clark and choreographed by
Robin, the production opts for a cinematic feel, taut pace, and
emotionally poignant moments. There are fresh, original touches like
the choreographed staging of the overture or the more tender, realistic
rethinking of “Happy Talk.” One scene flows seamlessly into the next,
as the directors take a page from Joshua Logan’s playbook and have
actors’ exits and entrances overlap. Despite the fact that this is not a
dance musical per se, Robin manages to create dance moments that
add vibrancy and kinetic energy to the piece, and scenes like the
Thanksgiving Day entertainment are especially funny and lively. His
and Clark’s skill in drawing from actors finely nuanced performances is
evident not only in the work of the principals, but in the detailed
portrayals by each member of the ensemble. Clark’s extensive
experience with the musical (having been a legendary Lt. Cable) also
inspires a special understanding and connection in the cast.
The musical direction by Sam Groisser, who leads a nine-piece
orchestra, is vibrant and does full justice to this beautiful melodic score
. It is thrilling to hear the full overture, entr’acte, and postlude so
beautifully played.
The visual production is state-of-the-art, conjuring up the colorful
warmth of the South Pacific. William James Mohney’s set design, (Meg
Valentine, props) together with Colin Riebel’s video design, makes
masterful use of MSMT’s new video technology, while seamlessly
blending projection with props and constructed pieces. Effects like the
panoramic video sweep of the island and surrounding ocean during the
overture, or the reveal of a tropical waterfall lit by a silvery moon (a
nod to the iconic waterfall movie sequence), or the rustling of palm
trees and billowing of waves all help convey the audience to a tropical
realm.
Paul Black’s atmospheric lighting with its rich, saturated colors
contributes to the overall effect of fluidity and magical realism,
creating a sense of tropical heat and mystery magic, while Shannon
Slatton’s sound design is filled with subtle touches like the soft chatter
of birds that transport the audience.
Jane Alois Stein’s costumes (Kevin S. Foster II, wigs) are characterful
and nostalgic nods to the 1940s. As Production Stage Manager, Ivan
Dario Cano (Liz Patton Assistant Stage Manager) anchors the finely
tuned production.
The cast has depth and class. As Emile de Becque, William Michals
offers a sumptuous voice and a riveting stage presence. To a role he
has played on Broadway and around the world, Michals brings his
glorious, classically trained, rich, chocolate-hued baritone and his deep
identification with the character. His de Becque is virile, dignified,
fiercely independent, urbane, and charming. His vocal solos – “Some
Enchanted Evening” and “This Nearly Was Mine” - bring down the
house with his resonant fortissimo, exquisite pianissimo, and elegant
legato and phrasing. From the very first, he melts not only Ensign
Forbush’s heart, but also that of the audience.
Carolyn Anne Miller once again demonstrates her versatility, creating a
Nellie Forbush who is it once na茂ve and wise, perky and tender. She
brings freshness and warmth to her big vocal moments and emotional
authenticity to her dramatic ones. Moments like “I’m in Love with a
Wonderful Guy” are filled with energy and fun, but she can also
summon the conflict and passion her character feels.
Lydia Gaston serves up a younger, more sympathetic Bloody Mary than
some. She is a survivor, a comic Mother Courage, who only wants the
best for her daughter, Liat, and she makes the most of “Bali H’ai” with
her appealing alto and strong belt.
Jake Goz portrays Lt. Joseph Cable as both innocent and street savvy,
and he delivers one of the most beautiful ballads in the show, “Younger
Than Springtime,” with lyric grace and one of the most meaningful
ones, “You’ve Got To Be Carefully Taught,” with pointed passion. Todd
Lawson makes a shrewd, yet endearing Luther Billis. Amusingly
quirky in his mannerisms, he also shows Billis’ softer side in his very
sincere affection for Nellie.
David Girolmo’s Captain Brackett captures the frustrations of the
island commander as he masks a hidden sense of humor and warm
heart, while James Patterson is the perfect foil as Commander
Harbison. Entrusted with much of the exposition in the last scenes,
Alexander Rios makes the most of his moments as Lt. Buzz Adams.
Gabi Chun portrays Liat with delicate sweetness, while Eliza Lawson
and TroyLi Fan Santiago are winsome as Ngana and Jerome.
Rodgers and Hammerstein decided to forego the traditional
chorus/ensemble in SOUTH PACIFIC and chose to name and
individualize each of the supporting characters. MSMT’s ensemble
honors that choice with each and every member delivering a
meticulously detailed and deeply committed performance. The
ensemble numbers like “There Is Nothin’ Like a Dame” and “I’m
Gonna Wash That Man Right Outta My Hair” are among the highlights
of the show.
In reviving a classic of the American musical canon for a 2024
audience, MSMT & the Fulton demonstrate not only their stylistic
range, but also their extraordinary ability to honor the past while
making it sensitively resonate in the present. SOUTH PACIFIC remains
the masterpiece it is because of the incomparable genius of its
creators. It continues to move contemporary audiences because of the
intelligence, commitment, and vision of the company’s artistic
direction and of the production’s creatives, cast, and crew. This is a
SOUTH PACIFIC for a new generation, but also a SOUTH PACIFIC for
all time. It is an Enchanted Evening that lingers and lasts.
Photos courtesy of MSMT & the Fulton Theatre
SOUTH PACIFIC ran from June 5-22, 2024
at MSMT’s Pickard Theater on the
Bowdoin College campus, 1 Bath Rd., Brunswick, ME
www.msmt.org 207-725-8769
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