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★ ★ ★ ★
A superb cast and innovative staging do everything they can to liven up a mid-20th century musical with still-resonant themes, but dated dialogue and showtunes. By Natasha.
This recent Chichester Festival revival of Rodgers and Hammerstein’s South Pacific succeeds in refreshing many elements of the source material. However, it is still left with some staid scenes, drab dialogue and old-fashioned songs that may struggle to fully captivate a contemporary audience. I thoroughly enjoyed the performance, but found elements of the musical weak in places.
The show focuses on the consequences of shipping a US Navy unit to an island in the South Pacific during World War II. Based on a series of short stories by James A. Michener, the differing impact of the situation on visitors and islanders is fascinatingly explored, at least in terms of plot.
The show has humour and tragedy, showcasing a fascinating exploration of what happens when cultures clash. The story is darker and more nuanced than we might expect from a musical that thrived onstage in the 1950s. It is chock full of power imbalances, with the themes of racism and colonialism always in sharp focus. ‘You’ve Got to Be Carefully Taught”, for example, retains its intentionally menacing overtones and is unfortunately as applicable to 2022 as it was in the post-war era. ‘Happy Talk’, best known as a cosy and amusing number, is turned into a fabulously anguished lament as a mother realises what exactly is at stake.
The staging is fantastic, with scenes set by projecting images onto a textured backdrop, good use of lighting and clever use of a revolve. It’s a challenge to bring a Pacific island to life on stage, but it works here by focusing on specific settings that whirl in and out of each other, and rarely stay still.
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| Photo Credit: Johan Persson |
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| Photo Credit: Johan Persson |
In fact, in a show famous for its classic songs, what makes this production so exciting is its use of movement in so many forms (Ann Yee is listed not only as a Choreographer for the show but as Movement Director.) From the poignant Overture onwards, our eyes are always delighted by the motion onstage, and notice the emphasised moments when it stops, and why. Dance itself remains a focus, from a balletic depiction of sexual intimacy, to rousing ensemble numbers with vivacious choreography.
What prevents me from giving this revival a five-star review is its original score and script. Viewed from a contemporary perspective, several of its songs and acted scenes are gentle and formulaic, especially compared to so many innovative and genre-blending contemporary musicals. Although this revival blows the cobwebs off a classic, it simply can’t escape the often-uninspired dialogue and prosaic scenes of the original. Nor can it further elevate the recognisable but musically staid and lyrically unexciting solo numbers, despite a rousing orchestra and stunning vocalists. Although the themes explored are timeless, this is done through the use of a musical language set wholly in its original era.
Listen Now: Q&A with Rob Houchen, South Pacific UK Tour
Nevertheless, the melodies and motifs are sung and played exquisitely, sometimes achingly and heartbreakingly, with the soaring voices of Julian Ovenden (as Émile) and Rob Houchen (as Lieutenant Cable) in particular providing the gutsier emotion that is missing from the music and lyrics. The choreography revives the relatively punchier numbers somewhat, with songs such ‘I'm Gonna Wash That Man Right Out of My Hair’ making the musical come alive. The show was an absolute hit with the audience, many of whom were more familiar with the film version and have a deeper appreciation for old-school song composition than this reviewer. The musical may be flawed, but this production has all the right ingredients to make it the best that it can be - an insanely talented cast, great set design and staging, incredible choreography - and is definitely worth a look.
*Warning - the moving scenes on the revolve and some of the lighting elements during some scenes can be challenging on a sensory level, so if you have a sensitivity to motion and harsh lighting, perhaps avoid.
The South Pacific UK & Ireland tour can next be seen at the Festival Theatre, Edinburgh before heading to Leeds and Canterbury.
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