×
You will be redirected back to your article in seconds

South Pacific

"When important things happen," we're told midway through the long first act of Trevor Nunn's new London revival of "South Pacific," "one has a feeling about it." My initial feeling about the Royal National Theater's third and latest Rodgers and Hammerstein reclamation is that it doesn't equal the company's "Carousel" and "Oklahoma!"

With:
Emile de Becque - Philip Quast
Ensign Nellie Forbush - Lauren Kennedy
Lt. Joseph Cable - Edward Baker-Duly
Bloody Mary - Sheila Francisco
Liat - Elaine Tan
Luther Billis - Nick Holder
Captain George Brackett - John Shrapnel
Cmdr. William Harbison - Stuart Milligan

“When important things happen,” we’re told midway through the very long first act of Trevor Nunn’s new London revival of “South Pacific,” “one has a feeling about it.” My initial feeling about the Royal National Theater’s third and latest Rodgers and Hammerstein reclamation is that it doesn’t equal the company’s “Carousel” and “Oklahoma!” That’s to set, admittedly, a formidably high bar for an occasion whose importance (even, it has to be said, self-importance) is never in doubt: Nunn has done his homework, and buffs everywhere will thrill at, among other things, the chance to hear forgotten numbers like “Now Is the Time” and “My Girl Back Home” (both dropped prior to the 1949 Broadway preem), not to mention the presence via Matthew Bourne of the most celebrated choreographer this musical has yet enjoyed (the Joshua Logan-directed original didn’t even have one). The result is a serious and exhaustive — some will say exhausting — reassessment of a defining American musical that justifies its place in the National repertoire (where it will do exceedingly well) without making a case for the longer life that the same address’ previous R&H entries have done.

This “South Pacific” comes laden with good intentions and an almost belligerent sense of its own worthiness: “Colored!” exclaims Nellie in a first-act racial exclamation over Emile’s children that is new to the script, courtesy Nunn’s scrupulous refashioning of the original, rehearsal drafts included. But what one keeps yearning for — much as Philip Quast’s excitingly sung Emile de Becque yearns for Arkansas “hick” Nellie Forbush (Lauren Kennedy) — is that quality of rapture that the most earnest research cannot buy, the kind that leaves auds of whatever age feeling, well, younger than springtime.

The failure of the evening to provide much emotional lift, conversely, has its own aging effect, and not merely because the production runs 3¼ hours, roughly the same as Nunn’s superior National-spawned “My Fair Lady,” now in the West End. No amount of social contextualizing and thematic flag-waving counts for much without audience investment in a central couple capable of triumphing over emotional timidity (in Emile’s case) and inherited prejudice (in Nellie’s) in time for the hug-happy final tableau. Instead, we’re left with the fleshy Australian-born Quast physically and culturally cast against type as the “slim” (or so the program tells us) French plantation owner Emile, and yet singing up the sort of storm that — characteristically for this gifted performer — sends shivers down the spine. His opposite number, Kennedy, is a ceaselessly peppy American newcomer to the London stage who, I’m afraid, makes scant impression notwithstanding all her hard work.

Possessed of a rather metallic grin and a pushy, unyielding stage persona that seems a shade self-consciously “Broadway” for such a self-described small town “knucklehead” (on opening night, her comic lines drew noticeably few laughs), Kennedy simply can’t carry the burden of so big and busy a production: When she sings (in “Honey Bun”) of being “101 pounds of fun,” you may find yourself asking whether the intended jollity may have got thrown overboard somewhere en route to the Pacific. As for chemistry between the leads, forget it: Their greatest connection comes during a shared kiss at the curtain call.

It’s not immediately clear, admittedly, whether the principal lovers aren’t meant to take a back seat to the wartime populace at large in a reordered “South Pacific” that takes half an hour before Emile even appears. Instead of opening with “Dites-Moi,” the silvery strains of “Bali Ha’i” and an abbreviated overture give way to some place-setting newsreel footage — echoes, here, of Nunn’s “Sunset Boulevard” — followed by two company numbers back to back: “Bloody Mary” and “Nothing Like a Dame.” The drill work allows Bourne a lusty showcase, even if the macho banter of “Dame” is somewhat undercut by having a deep-voiced ensemble player sing his paean to the fairer sex while clinging to a phallic stump of palm.

The women later get equal time, Kennedy’s mechanically rendered “Gonna Wash That Man” backed by distaff dancers who constitute a towel-snapping chorus of the sort that hasn’t been seen in London since “The Witches of Eastwick” left town, and with it the song “Dirty Laundry.” Act two has its own grass-skirted burlesque in “Honey Bun” led by Nick Holder’s Luther Billis, the goodtime Seabee of the cumbersome stowaway subplot who looks as if he’d be quite at home in “Privates on Parade.”

Away from such comparatively innocent pleasures, Nunn points up the far-from-blameless naivete and prejudice that “South Pacific” is really about, with Nellie’s resistance to Emile’s half-Polynesian children echoed by the skepticism of the Princeton-educated Cable (Edward Baker-Duly, his nasality more or less scuppering all his numbers) toward the possibility of any life with the Tonkinese Liat (Elaine Tan). In interpretive terms, the show’s primary coup rests with the hefty (in every sense) Bloody Mary of Sheila Francisco, who positions the role well away from the roly-poly comic relief presented by Bertice Reading in this show’s last London revival in 1988.

There’s a revelatory urgency to the “Bali Ha’i” that this island mercenary sings early on to Cable, her second-act “Happy Talk” — never has that song seemed more ironically titled — subsequently delivered as an act of near-desperation, as if she knows that the doomed Cable represents her daughter’s best and last chance. (Also excellent: John Shrapnel as a definitively dry, straight-talking Brackett, the island’s commanding officer.)

These are all gifts available to a “South Pacific” that can afford to reconsider the material anew, away from the pressures of the commercial marketplace. Less rewarding is John Napier’s efficient if hardly inspired set — a revolving disc adorned with varying amounts of foliage, and even a jeep, as required — which in turn muffles the expert orchestral playing of William David Brohn’s robust additional orchestrations, the ample underscoring of the anthemic “Now Is the Time” included.

Is this, then, the time for “South Pacific”? Undoubtedly, so long as issues of race, caste and class — the last an initial barrier between the sophisticated Emile and the “corny” Nellie well before it gets preempted by qualms about ethnicity — continue to divide. (On a more specific note, a reference to military maneuvers from hill to hill calls to mind our own age of Afghanistan cave-hopping.) If only the textual resonances were mirrored in affective terms, the production might not only make us think but move us. As it is, one sits out this protracted “South Pacific” noting the points it so carefully makes and yet, like its lovesick hero, still dreaming of paradise.

South Pacific

Royal National Theater/Olivier, London; 1,047 seats; £38 ($55) top

Production: A Royal National Theater presentation of a musical in two acts with music by Richard Rodgers, lyrics by Oscar Hammerstein II, adapted from the James A. Michener novel "Tales of the South Pacific" by Hammerstein and Joshua Logan. Directed by Trevor Nunn. Choreography, Matthew Bourne.

Creative: Sets, John Napier; costumes, Elise Napier; lighting, David Hersey; original orchestrations, Robert Russell Bennett; additional orchestrations, William David Brohn; musical supervisor, David White; music director, Stephen Brooker; sound, Paul Groothuis. Opened, reviewed Dec. 12, 2001. Running time: 3 HOURS, 15 MIN.

Cast: Emile de Becque - Philip Quast
Ensign Nellie Forbush - Lauren Kennedy
Lt. Joseph Cable - Edward Baker-Duly
Bloody Mary - Sheila Francisco
Liat - Elaine Tan
Luther Billis - Nick Holder
Captain George Brackett - John Shrapnel
Cmdr. William Harbison - Stuart Milligan
With: Phong Truang, Richard Youman, Sarah Ingram, Melanie Min Yin Hah, Wai Chun Cheung, Joe Young, Christopher Holt, Richard Pettyfer, Ian McLarnon, Paul Hawkyard, David Stothard, Branwell Donaghey, Mark Hilton, Thomas Aaron, James Barron, Tam Mutu, Neal Wright, Sasha Oakley, Lorraine Chappell, Cathy Cogle, Nicola Filshie, Sarah Leatherbarrow, Jean McGlynn, Sarah Manton, Renee Montemayor, Golda Rosheuvel, Rebecca Vere, Sarah Bayliss, Zehra Naqvi, Daniel Stockton, Timothy Walton.

More Legit

  • Bryan Cranston First Time in Variety

    Bryan Cranston on His Early Roles, Dealing With Rejection and His 'Erasable Mind'

    Following his 2014 Tony Award for best actor as President Lyndon B. Johnson in Robert Schenkkan’s play “All the Way,” Bryan Cranston is looking to add to his trophy collection this year with his performance as Howard Beale in “Network.” The deranged anchorman — who’s famously “mad as hell and not going to take this [...]

  • Ink Play West End London

    Wary Theater Rivalry Between London and New York Gives Way to a Boom in Crossovers

    Give or take a little tectonic shift, the distance between London and New York still stands at 3,465 miles. Arguably, though, the two theater capitals have never been closer. It’s not just the nine productions playing in duplicate in both locations — believed to be the most ever — with three more expected in the [...]

  • Alex Brightman Beetlejuice Broadway

    How Alex Brightman Brought a Pansexual Beetlejuice to Life on Broadway

    Alex Brightman gives the deadliest performance on Broadway — in a good way — in “Beetlejuice.” The big-budget musical adaptation of the 1988 film directed by Tim Burton has scored eight Tony nominations, including best actor. To play the frisky role, Brightman (“School of Rock”) dons Beetlejuice’s striped suit and an assortment of colorful wigs [...]

  • Santino Fontana Tootsie Broadway Illustration

    'Tootsie' Star Santino Fontana on the Challenges of His Tony-Nominated Dual Role

    Santino Fontana is doing double duty on Broadway this year. The “Tootsie” star scored his second Tony Award nomination this month for his hilarious portrayal of struggling actor Michael Dorsey and Dorothy Michaels, the female persona that Dorsey assumes to win a role in a play. The musical, based on the 1982 comedy starring Dustin [...]

  • Dear Evan Hansen

    Broadway Cast Albums Find Fresh Footing With Hip New Sounds, Viral Outreach

    Mixtapes. YouTube videos. Dedicated playlists. Ancillary products. Viral marketing. Epic chart stays. These are things you expect to hear from a record label discussing Cardi B or Beyoncé. Instead, this is the new world of a very old staple, the Broadway original cast recording. Robust stats tell the tale: Atlantic’s “Hamilton” album beat the record [...]

  • Ali Stroker Oklahoma

    Ali Stroker on 'Oklahoma!': 'This Show Doesn’t Follow the Rules and That Is So Who I Am'

    Ali Stroker is no stranger to rewriting history. With her 2015 Broadway debut in “Spring Awakening,” she became the first actor in a wheelchair to perform on the Great White Way. Three years later, she’s back onstage in Rodgers and Hammerstein’s “Oklahoma!” as Ado Annie, the flirtatious local who splits her affections between a resident [...]

More From Our Brands

Access exclusive content