Hit revival of ‘South Pacific’ thrives on powerful performances
BY HEDY WEISS Theater Critic/hweiss@suntimes.com February 17, 2012 12:38AM
‘SOUTH PACIFIC’
RECOMMENDED
◆ Through Feb. 26
◆ Cadillac Palace Theatre, 151 W. Randolph
◆ Tickets, $18-$85
◆ (800) 775-2000;
BroadwayInChicago.com
Article Extras
Updated: March 19, 2012 8:03AM
At the very moment that “Show Boat,” the 1927 Jerome Kern-Oscar Hammerstein musical, is docked on the stage of the Lyric Opera, a touring production of the 1949 Rodgers and Hammerstein classic, “South Pacific” — a re-creation of the Tony Award-winning 2008 Lincoln Center Theatre revival directed by Bartlett Sher — has arrived at the Cadillac Palace Theatre.
The two shows share many qualties rooted in the deep humanity of Hammerstein. Both have scores that mix operatic and musical theater voices. And both are based on powerful books (in the case of “South Pacific,” a collection of stories by James A. Michener), that tell panoramic stories, and feature three-dimensional adults caught up in complex situations involving love, friendship, interracial relationships and racial prejudice.
The intensity of “South Pacific” is further rooted in the fact that World War II is raging not far from the U.S. naval base where Ensign Nellie Forbush, the nurse from (segregated) Little Rock, Ark., falls for Emile deBecque, an older, expatriate French plantation owner who is the widowed father of two young children from a marriage to a Polynesian woman. And a sense of the racial divide that persists at home even makes an officer pause before answering the question of whether it will be a better world if the Americans are victorious.
Sher’s production (re-created here by Sarna Lapine) also pulls no punches about the imperfections in other societies. While this tour might lack the heat and intimacy and lush orchestral sound of the Lincoln Center original, what emerges even more strongly here, is the deeply disturbing way the entrepreneurial Bloody Mary almost tries to “sell” her beautiful young daughter, Liat, into a marriage with the handsome young officer, Lt.Joseph Cable.
Jennie Sophia (an understudy who has taken over the role of Nellie in Chicago), sings beautifully and brings an easy naturalness to the role, while Marcelo Guzzo, an Uruguayan-born opera singer, uses his rich baritone to fine effect as Emile, but is a bit young-looking for the role and is a somewhat uneven actor. And the chemistry between the two is not exactly explosive.
Shane Donovan, hunky and macho, brings a refreshingly arrogant, unsentimental edge to his portrayal of Cable. And Cathy Foy-Mahi gets all the usual Bloody Mary laughs at the start, but turns into quite a sinister character along the way as she pushes Liat (Hsin-Yu Liao is delicate yet quite aggressive) into Cable’s arms.
Christian Marriner brings enormous comic charm and wit to that irresistible seabee, Luther Billis, the ever-mischievous class clown with the big heart — a man who hates being pinned down, loves “projects” and clearly has a crush on Nellie.
Christopher Gattelli’s musical staging makes the choreography feel like a genuine extension of the storytelling. And Michael Yeargan’s handsome sets shift easily from shaded plantation, to beach-front military installation.
As is often the case, Broadway in Chicago brings shows here long after their crucial moment. This revival of “South Pacific” clearly struck a chord as the wars in Iraq and Afghanistan were at their peak. And while its essential glory endures, the special heat of that moment has faded.
Comments Click here to view or make a comment