Nothin' in the world.
To paraphrase Samuel Johnson, when a person is tired of Rodgers
and Hammerstein’s South Pacific, one
is tired of life. How many times have we
seen this glorious musical, from Broadway to regional productions? Many. And how many times have I played its captivating
music on the piano? Thousands.
So what does the Maltz Jupiter Theatre’s production have
to offer? Plenty.
First and foremost is a full professional cast of 28 that
would rival any Broadway assemblage.
Then, the show plays to the Maltz’s strength: classic musicals that are
not road shows, but original from the bottom up, casting, scenic design,
costumes, musical arrangements, and expert directing. Finally, the secret ingredient: an intimacy
which is unusual for a big production.
We saw South Pacific at the
Kravis years ago. Although excellent,
we’re talking about a theatre which seats more than 2,000 and seeing a
full-size Broadway-designed musical is not the same as enjoying the intimacy of
a 600 seat Maltz. The music, the
performances, the sheer energy simply reaches out and envelops the audience. In fact, the performers are up and down the
aisles, often interacting with the audience.
Then of course it is the greatness of Rodgers and
Hammerstein, and their place in transforming the musical genre from merely a
series of songs loosely tied together.
Their groundbreaking Oklahoma!
solidified the importance of “the book” in the Broadway musical, with music,
songs, dance all integral to the plot.
Plots became more complex such as in South
Pacific, two main story lines interwoven, each tackling a subject which was
taboo before, interracial relations, all of this against the backdrop of WW II
in the South Pacific.
It was based on a series of interrelated short stories, the Tales of the South Pacific by James
Michener, with the book for the musical by Oscar Hammerstein II and Joshua
Logan. The importance of the themes was
underscored by its winning The Pulitzer Prize for Drama in 1950, a rare
distinction for a musical. Its relevancy
today is undiminished. Its place as a
classic among American musicals has been assured by the glorious melodies of
Richard Rodgers and Oscar Hammerstein’s lyrics, irrefutably one of the best
musicals of the twentieth century.
When Erin Davie as Nellie belts out "A Cockeyed
Optimist" at the beginning of the show you might as well be sitting in the
front row of a Broadway production. Hammerstein’s
lyrics and Rodgers bouncy melody announces her typically apple pie American
attitude towards life, in spite of the war surrounding her, Davie giving her
introductory song a special cheery oomph. Davie’s voice is a sweet soprano, but what she
might lack in vocal power is more than compensated for by how spellbindingly she
sells a song with her irresistible stage presence.
Segue to the other co-star, Nicholas Rodriguez as Emile,
whose duet with Nellie in "Twin Soliloquies" establishes his
character and showcases Rodriquez’s rich baritone while alternating with Nellie’s
dreamy lyrics. This is an ardent
falling-in-love duet. Then Rodriquez tenderly
delivers what is perhaps Rodgers and Hammerstein’s most famous love song,
"Some Enchanted Evening" recalling how he and Nellie met.
The stage is set for a more upbeat number sung by the
talented Sailors, Seabees and Marines, "Bloody Mary" followed by the rousingly
iconic "There Is Nothing Like a Dame." We’re talking pure testosterone-high- energy
in these production numbers with impressive choreography by Connor Gallagher.
Bloody Mary, played by Jodi Kimura sings the ballad
"Bali Ha'i" with an exotic dreamy quality. Kimura knows how to play to the audience and
she’s the center of attention when on stage. The moment she sees the other major character Lieutenant
Cable played by Stephen Mark Lukas, Kimura articulates what the audience sees,
telling a Seabee that “you not sexy like Lieutenant.” Lukas’ rendition of the beautiful ballad, “Younger
than Springtime” sung to Liat, Bloody Mary’s daughter, is especially memorable.
His other major
song "You've Got to Be Carefully Taught" is the one which cuts to the
core of South Pacific, a world torn
apart by war and more thematically in this show, racism. It was like no other song before in a
Broadway musical. Lukas performs the
song with anger and self loathing, not being able to shake his inbred
prejudices.
Christian Marriner who plays seaman Luther Billis, “a
sailor who bullies, bribes, and charms his way”, offers a show stopping
performance in “Honey Bun.” He performed
this role in the national touring company of South Pacific which explains his
owning this part with such assurance and bravado, bringing forth rousing
applause from the audience.
The concluding scene, Emile returning from a dangerous mission
and discovers Nellie singing "Dites-Moi" with his children, Ngana and
Jerome (played by Hana Roberts and Ray Zurawin), is a guaranteed tearjerker as
Emile completes the song. He and Nellie
rush into each other’s arms. She has
made the transition from being “as corny as Kansas in August” to knowing “I
have found me a wonderful guy” (in spite of his being previously married to a Polynesian). Love conquers all, even ingrained
prejudice.
The show is performed under the award-winning director
Gordon Greenberg’s extraordinary expertise, whose credits include Broadway and
PBS Great Performances' show, Irving Berlin's Holiday Inn and London's acclaimed West End revival of Guys and Dolls. He directed the Maltz Theatre's
critically-acclaimed hit production of Barnum
in 2009. With so many performers on
stage it is a feat to direct South
Pacific, with the production moving flawlessly, the invisible director’s
hand at work.
The Maltz South
Pacific production especially succeeds in stunning scenic designs by Paul
Tate dePoo III, with scene changes on the fly and little interruption. Costume designer Tristan Raines reveals a creative
and colorful imagination, yet period perfect.
Lighting designer Rob Denton bathes the stage in exotic Island colors. And the 13 piece LIVE orchestra under the musical
direction of Eric Alsford delivers the exceptional accompaniment that a
musical of this caliber deserves.
And so once again a great musical from the mid twentieth
century has been brightly polished and finds relevancy today. The Maltz Jupiter Theatre production of South Pacific is not to be missed.
Photos in order of appearance:Erin Davie and Nicholas Rodriguez, Photo by Alicia
Donelan; Surrounded by Seabees, Jodie
Kimura portrays Bloody Mary, Photo by Charlotte Donelan; Shea Renne and Stephen Mark Lukas, Photo by
Alicia Donelan; Stephen Mark Lukas and
Shea Renne, Photo by Zak Bennett; Erin
Davie and Nicholas Rodriguez (center) with Hana Roberts and Ray Zurawin, Photo
by Charlotte Donelan; Erin Davie
portrays Nellie Forbush, Photo by Alicia Donelan
