South Pacific is one of the all-time Broadway classics, featuring a dazzling score from Rodgers & Hammerstein. A show that demands a large cast, glitzy set and a full orchestra, it’s a real treat to have a production of this magnitude brought to our own Leeds Grand.
In a theatre world of juke-box musicals and shows with an ever-growing pop culture, this timeless classic provides a rare contrast, transporting us back to days long past.
I went to this show with a slight trepidation: it was a nostalgic treat for my mother rather than my own desire to go. I’ve only seen bits of the film as a child and on occasion I’ve found some of the older musicals from this generation a bit slow and heavy. Often, they are focused on women being in love after one date, only to discover a few surprising obstacles have been thrown in to interfere with their happy ever after.
Not surprisingly, this does actually make up the basis of the story for this production. Based on James A. Michener’s Pulitzer Prize-winning 1947 book ‘Tales of the South Pacific’ this show tells the story of Nellie, a nurse on a Pacific Island during WWII, who falls in love with Emile de Becque, a local French planter. However, upon discovering he is a widow of a local Polynesian woman with two children of his own, she is torn between her love for this older man and the deep-seated racism that has been drilled into her from birth.
Meanwhile, we see how the character of a young officer, Lt Robert Cable, falls in love with Liat, a Polynesian girl – before both men risk their lives for a secret spy mission that could turn the tide of the war.
On paper, this presents the potential to lack comedy and feature one too many heartbroken solos. However, ‘South Pacific’ skilfully avoids this through the underlining comedy and fast-paced musical numbers that are littered throughout the show. The story itself is fascinating: learning about another culture and their relationship with the American military as well as providing an alternative aspect of the war that is quite removed from the battle in Europe.
The characters themselves are extremely engaging and unique. Nellie’s charming and bubbly spark, played with great comedic flare by Gina Beck, gives her an innocence that the audience finds endearing. Her love interest le Becque, performed by Julian Ovenden, provides mature charisma (as well as a truly impressive voice) that will make many ladies in the audience fall in love with him too. The true star of the show for me though was Douggie McMeekin who played the role of Luther Billis, an entrepreneurial and gregarious sailor. McMeekin performed with such energy and pace that he lit up the stage whenever he entered, his farcical antics leaving the audience in constant laughter.
One thing that was impressive was the sheer size of the cast. At 30 strong, the sound they produced was breath-taking. The men were particularly impressive, with ‘There Is Nothin’ Like a Dame’ providing both a visual and aural treat. Full credit must be given to the director and choreographer, Daniel Evans and Ann Yee, for creating such a slick and precise ensemble that meant the 95 minutes of the first act passed in a blink of an eye.
As well as a large cast, the other demand for putting on a vintage Broadway play is a large orchestra, which in this case was absolutely flawless. Expertly led by Jon Laird, they could have been entertainment enough, so rare is it these days to have orchestras of this magnitude accompanying a musical, instead of more pop based ensembles. I was also surprised at just how many of the songs I knew. The most memorable tunes were those I was already aware of, such as ‘I’m Gonna Wash That Man Right Outa My Hair’ and ‘Bali Ha’i’. However, every song I jumped up a little as I realised I knew it without associating it with this show: ‘Some Enchanting Evening’, ‘I’m In Love With A Wonderful Guy’ and ‘Happy Talk’, which until previously I had only associated with the Kuoni Travel advert!
The most important aspect of this show though is how surprisingly relevant it is to today’s society. At the end of the first Act, I was appalled by Nellie’s disgust of le Becque having been married to a local Polynesian, so much so that I instantly turned against her character, this kind of obvious racism being so bluntly put. However, in Act Two we realise more about where these feelings were born and that, as the Cable sings, she has been ‘taught to hate and fear’ whilst being brought up in a small town in America. The more this profound song is sung the more we can see that these issues are in many ways just as prevalent in the world today as they were 80 years ago. Although in our schools and communities we push for equality, there are many homes and places around the world where this is not happening. It’s sad to think that a world war and 80 years have not yet brought us universal tolerance.
Another thing that really stood out to me was how this production promoted diversity within its cast. It was particularly pleasing to see that the cloned size 6 dancer of the classic Broadway day has been replaced by women and men of varied sizes. In no way was the performance affected and indeed it made the characters more appealing and engaging. It’s fantastic to see that young people are able to see positive role models in traditional musicals that promote healthy body images: these are clearly energetic and active performers but who have a variety of different shapes.
If you’re lucky enough to be able to grab a seat at this production this week I cannot encourage you enough to go. In addition, take young members of your family if possible, showing them how these vintage Broadway shows can be just as entertaining, educational and profound as some of the contemporary shows we see today. I can only say ‘thank you’ to my own mother for being the force that drove me to see this show.
https://leedsheritagetheatres.com/whats-on/south-pacific/
Photography: Johan Persson. Cover photograph – Joanna Ampil (Bloody Mary) with members of the Company.
