It was truly an enchanted evening at the Fox Theatre last night as "South Pacific," in all its tuneful glory, opened a two-week run with the splendor and style that have made big Broadway musicals such an exciting part of the American theatrical canon.
The touring company of the 2008 Broadway revival (the first Broadway revival since the show opened in 1949) filled the stage with 34 performers and, perhaps more important, had a pit orchestra of 26 under the baton of Lawrence Goldberg, making it sound like the good old days of musical theater. The technical work earned four well-deserved Tonys two years ago, for sets (Michael Yeargan), costumes (Catherine Zuber), lighting (Donald Holder) and sound (Scott Lehrer). It's easy to see why.
Vocally, the evening was magic, and the Fox sound system, which sometimes seems to be marching to a different drummer, has never been better. On stage, David Pittsinger was the best Emile de Becque I've heard since Ezio Pinza, who I saw way back when, originated the role. Pittsinger, his rich voice caressing the Oscar Hammerstein II lyrics in remarkable manner and rolling across octaves with ease and grace, was a joy to hear. Carmen Cusack, as Nellie Forbush, was an excellent contrast. She was, as Carol Channing once sang, a fine example of "just a little girl from Little Rock," and her big numbers, capped by "Honey Bun," were outstanding. I was slightly bothered by the fact that she sang some numbers as "a hick from the stick," others in a more polished style and neutral accent, but that's a minor complaint.
Jodi Kimura was a fine Bloody Mary, and Timothy Gulan was strong as Luther Billis, the busy Seabee who loves "projects," and was constantly on the hustle in a charming and effective style. Running his shrunken head business and his grass skirt business, in addition to his laundry and beach club, certainly kept him on the go. Of course, in the Pacific, as in any war before or since, there was much boredom, alternating with periods of sheer terror. And there was good cause for Billis and the other enlisted men to roar from "Bloody Mary" into "There is Nothing Like a Dame."
Director Bartlett Sher, also a Tony winner, brought great focus on the socially conscious aspects of the play. Lyricist Hammerstein and composer Richard Rodgers looked at American society in each of their musicals, and took a stand for social justice and equality in every one.
Perhaps "South Pacific" is a little stronger than most, but it came out right after World War II, when President Harry S Truman was abolishing racial segregation in the military (a lot easier, obviously, than abolishing homosexual segregation) and it explores two interracial relationships. When Anderson Davis, a concerned, introspective Lt. Joe Cable, sings "You've Got to Be Carefully Taught," there should be a shudder of recognition. He also has the wondrous love song, "Younger Than Springtime," to Liat, the sweet and lovely daughter of Bloody Mary, who swears like the sailors she tries to swindle. "Stingy bastard!" taught her by Billis, is her favorite expletive.
Pittsinger's "Some Enchanted Evening," reprised several times, is memorable, as was "This Nearly Was Mine," which follows "You've Got to Be Carefully Taught" like a right cross after a left hook..
Cusack has more songs than Pittsinger, and delivers with "A Cockeyed Optimist," and "I'm Gonna Wash That Man Right Out of My Hair," which she recants almost immediately with "A Wonderful Guy." Christopher Gatelli's musical staging is delightful, but the women's dance numbers have a simple feel, as if he were conscious of the fact that the he was dealing with Navy nurses and not the Rockettes. Works like a charm, as does everything else about the production. And Rodgers and Hammerstein may presage a great theater week–after all, O'Neill also is in town, Tom Stoppard arrives tomorrow and Neil Simon on Friday. What could be bad!
South Pacific, a Lincoln Center Theater production, will be at the Fox Theatre through Nov. 21
—Joe