A friend asked about Asolo Rep’s new season opener: “Why South Pacific?”I explained that it fits artistic director Michael Donald Edwards’s commitment to a five-year exploration of the American Character. It would seem this third-year start also aims at getting a sizable audience right off (as musicals are loved in Sarasota) as well as giving a timely tribute to service people, especially veterans.
Although South Pacific examines hard-hitting issues like war’s harsh realities and racism, they play out in the conduct of emphasized romances and longing for normal sexual relationships. On a South Pacific island among others threatened by the Japanese in World War II, successful French emigre planter Emile De Becque and a younger “Cockeyed Optimist” nurse Ensign Nellie Forbush from Arkansas fall in love. Her learning he’s a widow with biracial children derails their plans to marry.
Lt. Joseph Cable seeks to solicit De Becque with his expertise on the locality to join in a deadly mission that no man certain of imminent marital happiness would risk. Cable himself falls deeply for lovely Liat, daughter of “Bali Hai” island huckster Bloody Mary who pushes their marriage. But the Princeton alum from Philadelphia knows she wouldn’t be accepted there. Meanwhile, “entrepreneur” Luther Billis dotes on Nellie but, like his fellow Seabees, wants to get to the riches--feminine and otherwise--of the off-base isle.
If ever a text played second fiddle to music, though, it’s this Rodgers and Hammerstein hit--with one terrific song after another. They alone should add up to “Some Enchanted Evening.” They should not be diminished by new arrangements that suit an orchestra of eight-plus-conductor or are sung by less than half the original numbers (even if well arranged and okayed by the R&H estate). Those new to the musical or who like zipping along with simplicity may well agree. But I think for most (like me) who saw South Pacific in its heyday and have attended more populated productions since, this one is simply ordinary.
I question some of the important casting. Ben Davis, who has the best voice, uses it so well to enhance his charm that it’s a shame he isn’t old enough for De Becque. Conversely, Autumn Ogawa’s Liat seems not just “Younger than Springtime” but a pre-teen. That makes much-taller Anthony Festa a stick if there ever was one as Cable, seem almost a pervert, even if she does begin immediately, almost professionally, to undress him. Festa looks ill even when he’s not supposed to be.
Though Kelly Felthous is a perky, likeable Nellie, she doesn’t stand out either singing or acting that iconic role. In the usually show-stopping scene of washing that man right out of her hair, Kelly barely flips a few suds and sprinkles onto her mane. One wonders if she’s trying to keep on a wig or just doesn’t want to wet the microphone visible in her hair. Her “Honey Bun” somewhat redeems her, though.
Loretta Ables Sayre is obviously professional as Bloody Mary. Her counterpart, Luther Billis, gets less-than-usually raucous treatment by Benjamin Howes, but he’s still funny. Matt Faucher’s Stewpot impresses from among the supporting Seabees. Jim Sorenson works well as the Commander, as does Peter Reardon doing Captains of his age proud.
The chorus men and women are generally adequate, with “There is Nothing Like a Dame” being the former’s much appreciated hit. Though the band tries hard, music sounds thin.
A bamboo curtain lit at the start in different fruity colors recalls one version of the film that was briefly released. Otherwise lighting is not unusual. A turntable set, well done, contrasts with a scenic background that looks like (purposely?) old-fashioned painted scenery. Director Rob Ruggiero’s most notable achievement in this production is his blocking and use of the Seabees to move props and other scenic elements quickly.
