South Pacific

There is an easy familiarity of this story for followers of Rogers and Hammerstein. Often scoffed at for their dewy-eyed story lines, true fans appreciate the honesty and more serious side of their work which often hit on deep, social issues other writers of the age stood well clear of!

The location of sandy beaches and tropical nights was easily conjured up with a simplistic, effective set, which in part, included colourful cloths and batten screens, all beautifully lit to capture the atmosphere and every feeling of the piece.

The entrance of the Seabees in ‘Bloody Mary’ and the always well anticipated ‘Nothing like a Dame’ did not disappoint, with tremendous strength and impact they brought energy to the stage with every number! Musical accompliment was superb in its balance and unity, with every song unobtrusively supported while still bringing pleasure on hearing. Small touches to the vocal arrangements added interest without appearing too mutable!

Principal cast offered some assured performances and very special moments but at a price, with occasional signs of tired voices and slow pace. Mark Worsley (Emile) brought dignity and a gratifying voice to the role, ‘This Nearly Was Mine’ made delightful listening! Kelly Apps (Nellie) shines on the stage and never more so than when playing a sassy character! ‘Wonderful Guy’ showed fun and pep, one of the definite feel-good junctures of the show.

Coupled with one of the most beautiful, visual moments, Cable and Liat touched the heart with their ‘getting to know you’ point-in-time on Bali Hai. Every aspect was staged to stir the emotions which worked extremely well, despite the hiding, giggling islanders who appeared as an inconsequential presence!

Tracey Wakeling (Bloody Mary) portrayed the contrasting sides of her character to believable perfection with the results of thwarted conniving appearing particularly black! This brought a welcome depth to the character despite the confusing use of a long, black wig which appeared at odds with the supposititious Polynesian culture of the time. Luther Billis ably injected his ‘cheeky chappie’ charm in company with an impressively strong, sit up and take notice Commanding office.

While this production caught the eye with its hard working cast offering gratifying and creditable entertainment in so many ways, the production pretty much followed the usually seen set course of action, which can now appear bland sitting amongst modern musicals.  I’m sure Rogers and Hammerstein would not have minded the introduction of a few carefully placed ‘bells and whistles’. Who will be brave enough?

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