Theater review part deux: South Pacific

by John Garcia of John Garcia's The Column

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It was disappointing that instead of discovering a dynamic new vision, the overall production had a coating of "been there, seen that."

You're looking for a theater production to go see this month, so what's available? Well, first off we are in the midst of the Christmas holiday season, which means endless versions of A Christmas Carol. What's left? The remaining fare are holiday-themed shows geared for the kiddos. It's family month in theater around the metroplex. So among the shopping, visiting relatives, wrapping presents, decorating the tree, making gingerbread men cookies, build a snowman, you also have to catch the yearly Christmas show.

But what if your creative, artistic taste buds want something else? Turns out that the 2008 Tony Award winner for Best Musical Revival has dropped anchor at the sumptuous Winspear Opera House. What musical would that be you ask? Why that would be Rodgers & Hammerstein's South Pacific (playing at the Winspear Opera House in Dallas through January 3).

The revival won seven Tony Awards in 2008 and is still playing at the Vivian Beaumont Theater. The original production opened at the Majestic Theater in May 1949, then transferred in June 1953 to the Broadway Theater, where it closed its run in January 1954 after 1,925 performances. But not before collecting 10 Tony Awards as well as the 1950 Pulitzer Prize for Drama.

If you an avid reader of The Column, then you are quite aware of my disappointing sighs of "not again" and eye-rolling when it comes to the Rodgers & Hammerstein catalogue.

Their productions have been produced ad nauseam over and over again all around the Dallas-Fort Worth metroplex. When I lived in Florida and Pittsburgh, the same thing occurred there too.

I have seen my share of The King and I, Carousel, Oklahoma, South Pacific, and the granddaddy of them all, The Sound of Music. What about the various Broadway revivals over the years? Yep, sat through many of them as well, from Donna Murphy's "Anna" right down to Yul Brynner's final run as the "King" in the mid-'80s.

Trust me when I say that I have seen so many versions of R&H productions that they could completely fill out the new Jerry Jones Cowboys Stadium twenty times over!

I sincerely do understand and appreciate the history, scope, and visionary results that came from their works. Without them, the art of musical theater would not have been as exciting as it is today if it not were for Rodgers & Hammerstein.

Having said that, I'd rather take a Silkwood scrub down than sit through one more chorus of "Doe a Deer/A female deer!"

After sitting through so many of these classic titles from the R&H canon, you thirst and crave for a bold new vision. A sturdy, trusting director and cast needs to blow off the mountains of cobwebs and dust that has settled on these creaky old war horse musicals.

They need to excavate the material to discover new life, energy, subtext, and substance within the pages of song and book -- thereby making these classics have a rebirth on stage. The final product gives the observer a whole new prospective on the show. If not, then why on God's sweet earth would you sit through the same ole material that has been regurgitated in the same ole way for the millionth time?

Which brings us to last night's South Pacific. This is the Bartlett Sher-helmed revival that took Broadway by storm last season. The New York Times' Ben Brantley heaped reams of praise in his review calling it "rapturous." Alas for me it was a mixed bag of both pleasure and disappointment.

Director Bartlett Sher was actually in the lobby at intermission! Either that or he has a great double. Sher has directed the piece nicely, if somewhat static. With the combination of Christopher Gattelli's musical staging, the overall product had the basic elements that you would find in any director's handbook of an R&H musical. There was a lot of "stand and sing," "sit and sing," "go to center and sing" within the blocking/staging.

Sher does plant his cast firmly into realistic acting, steering them away from the broad, cookie-cutter performances that I have seen in the past when it comes to R&H productions. That I did appreciate and found quite appetizing.

But I didn't see what all the hoopla was that the Gotham critics had lavished upon this revival last night. The pace at the beginning of a very long first act crawled like a zombie towards its victim; it finally woke up when the first ensemble number was performed.

Sher's vision was pleasurable, but there was nothing really new and certainly not "revolutionary" by any means. This revival instead was a representation of past solid productions that I have seen before on this tale of Bali Ha'i, love, and war. Thus it was disappointing that instead of discovering a dynamic new vision, the overall production had a coating of "been there, seen that."

Physically the production is resplendent. The unification of Michael Yeagan's sets and Donald Holder's lighting is a match made in heaven. Yeagan has created a real beach with vanilla-colored sand hills and palm trees. He also brings from offstage various scenic pieces that looked just marvelous. Examples of these include the showers, Billis' laundry service, the mansion where Emile de'Becque resides, the military war room (with its massive map), and so on. He also has a huge blue war plane on stage to boot! I found the mini-stage used for the second act follies show designed beautifully here as well.

But Yeagan's masterpiece is the painted backdrop that transforms like magic from blue and purple-hued skies, to the mountains of Bali Ha'i, to grey cold storms. Holder's lighting helped immeasurably in creating this magic. During several numbers the backdrop with these lush hues of lighting, transformed into a magical island that every seaman wanted to swim to. Holder's lighting design is robust and grand. He paints the action and numbers with just the right colors to seep out the emotion within the piece.

Another fantastic element was the exquisite large orchestra in the pit. Under the direction of Lawrence Goldberg, the orchestra brought the rich textures of lush island romance within the score. On Broadway it's a 36-piece orchestra, for the tour it's 26 members. But that did not matter for this production. It is rare nowadays to hear real strings pour from the pit!

Where Sher does earn his kudos is his keen eye for casting. The ensemble within this cast transformed each of their numbers into glistening baubles of sheer enjoyment for the audience.

The men of the ensemble turned "There is Nothing Like a Dame" into a major showstopper last night. What I found particularly thrilling was how they found naughty, risqué humor within the lyrics. That is how a real Seabee would sing that song. Remember, they've been stuck on an island for so long without a woman. The men in the cast were all handsome, masculine fellows with tattoos that sang with muscular singing voices.

Meanwhile the gals of the ensemble looked like they were cut right out of a Betty Grable cheesecake calendar. These lovely ladies provided ample amounts of humor and sass with "I'm Gonna Wash That Man Right Outa My Hair" and "A Wonderful Guy." They also did a snazzy job of tap dancing (one girl on point) for the "Thanksgiving Follies" within the second act.

Keala Settle portrays "Bloody Mary," the Polynesian native who sells all sorts of trinkets to the sailors, including her own daughter. Ms. Settle sings the role with a fine soprano voice. However, her accent was so heavy it was hard to understand her at times. Where she really shines is what she has done with "Happy Talk." Normally this number is performed with joyous optimism. Here Ms. Settle transforms the subtext into dark shades of that of a mother giving her only child away, if only to give her a better life. Using the lyrics and vocal inflections, she becomes this slithering, hissing flesh peddler who seems to hypnotize Lt. Cable into her trap.

Anderson Davis delivers a superb performance as "Lt. Joseph Cable," the spoiled fly boy in the leather jacket who falls for a native. Davis is physically a towering, muscled man chiseled from those matinee idols of the 1950s. This actor strips off the chains that have held down many an actor in this role that have played him one tone. Instead Davis gives the role an emotional arc that makes the audience see through his eyes. His rich tenor voice creates musical finery for his solos. His version of "Younger Than Springtime" is sheer heaven, laminated in sexual tension and heat; he displays a man discovering real love for the first time. His second act solo, "You've Got To Be Carefully Taught" had just the right amount of anger, contempt, and fury of a man who spits into the eye of racism. Mr. Davis was a major highlight of this production.

The role of "Luther Billis" has somewhat been stuck in one gear in many productions that I have seen, which is over-the-top comic relief. The role tends to be cast with a heavyset actor or one who is lanky and tall. This physical element is to somehow help make the role achieve the laughs that are on paper. For me, I always found the role bothersome and in the way.

Matthew Saldivar finally found the key on how to make the role of "Billis" so much more than comic relief. The actor with his dark hair and features speaks the role in this Jersey, "bada-bing" accent that makes the role become richer and much more satisfying than in the past. Instead of going for the jokes that are cemented in the lyrics (as past actors have countless times), Saldivar instead finds rich new humor and sexual overtones both within the lyrics and book. His work in "There is Nothin Like a Dame" and "Honey Bun" is marvelous to observe. Combining his swarthy good looks and Jersey attitude, he makes the role much more flesh and blood, than "go straight for the joke." His underlying subtext of a man who "likes projects" also seems to have his heart follow Nellie is terrific to watch unfold. I found Saldivar's performance stellar from beginning to end.

Special mention should also go to Sumie Maeda as "Liat," Bloody Mary's daughter. Ms. Madea brings a sweet childlike innocence to the role. Without saying a word you sincerely feel her love for Lt. Cable. She does deliver a lovely dance solo with a handkerchief during "Happy Talk," although it did remind me a lot of the fan dance in "Getting to Know You" from The King and I.

Jason Howard sings with a thundering, luxurious baritone voice as "Emile de Becque," the Frenchman who once killed a man. Howard uses his operatic voice to grand results with such well-known songs as "Some Enchanted Evening" and "This Nearly Was Mine." However, Mr. Howard seemed to stay stuck in the character box that so many past "Emiles" have played him. I could not find new subtext within his performance. Don't misunderstand me; he was highly enjoyable in the role. He sang beautifully, but was somehow imprisoned in the characterization cage that somehow always traps previous actors who play the role in that same fashion and tone.

In the role of "Nellie Forbush," which was originally created by the ever-gracious Mary Martin, is Carmen Cusack. Cusack physically resembles a young Marlene Dietrich, but sounds like Suzanne Sugarbaker with her Southern accent.

Ms. Cusack delivers just the right amount of Southern Belle, strong military woman, and lovestruck gal all rolled into one body. What I found particularly refreshing was her novel approach to the comedy. She actually found delightful, robust new laughs within the archaic book and lyrics that I haven't seen past Nellies attempt on stage before. She discovered a unique approach to the comedy, all slathered in her Southern drawl that resulted in hearty laughs from the audience.

She sings in a melodious soprano voice that weaves bewitchingly within the score. She brings the right amount of perkiness and aura of being in love with such songs as "A Cockeyed Optimist," "A Wonderful Guy," and "I'm Gonna Wash That Man Right Outa My Hair." But she then brings an adult heart of realism, heartbreak, and pain for the darker shades within her characterization. Cusack gives the role a solid dose of uneasiness when she shows her distaste and racial views on Emile's dead wife (who was colored). Ms. Cusack is really outstanding in this production.

Is this a revolutionary production that has unearthed exciting new subtext, staging, and direction? In some performances, yes, but overall? No. And that's where the disappointment lies for me. I wanted this to be so radically different than from past productions. Alas it was not.

But for those who love R&H, this is by far a first-rate production, for it satisfies all those elements & qualities that show why this musical is such a classic.

GRADE: B

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