You’ve Got to Be Carefully Taught

South Pacific

Spring has finally blossomed in Chicagoland. And with the bounty of beautiful flowers comes an abundance of new shows, both original, Broadway-bound hopefuls and timeless classics of the musical theatre. Paramount’s latest offering is a polished, beautifully directed, acted and, especially, sung production that harkens from Broadway’s Golden Era. This fine presentation is visually stunning and very entertaining, but a few tiny hitches keep this production of SOUTH PACFIC from totally being  “Some Enchanted Evening.”

Based upon James Michener’s Tales of the South Pacific, Rodgers and Hammerstein’s 1949 classic earned the Pulitzer Prize for Drama, as well as a record 10 Tony Awards. The original Broadway production, directed by Josh Logan, starred a luminous young Mary Martin, as American nurse Nellie Forbush, and Italian opera star Ezio Pinza, as French planter, Emile de Becque. The show was an immediate hit, especially with WWII still living in our collective memory. After decades of professional tours, revivals and amateur productions, SOUTH PACIFIC was given a spectacular updated presentation in the glorious 2008 Lincoln Center revival. Starring Kelli O’Hara and Paulo Szot, that production garnered 7 more accolades.

Paramount’s production is co-directed by renown theater artist, Devon Hayakawa (COME FROM AWAY, at Paramount) and the Theatre’s gifted, Jeff Award-winning artistic producer and casting director,Trent Stork (KINKY BOOTS). Their current production focuses on some expert casting of an accomplished, 36-member company of professional vocalists, particularly in the leading roles. The lush score is musically directed with sharp precision by Kory Danielson, who also conducts the rich and full-sounding Paramount pit orchestra.

Paramount’s cast is led by the charming, lovely and multitalented Broadway triple-threat, Allsun O’Malley (Broadway’s WICKED), as Nellie Forbush. She resplendently portrays the naive, knuckle headed native from Arkansas with all the innocence, humor and spunk that the role demands. Ms. O’Malley has natural charisma, a quality that makes her Nellie Forbush more likable and relatable than your typical leading lady of musical comedy. Her delightful delivery of “A Cockeyed Optimist,” “I’m Gonna Wash That Man Right Outa My Hair” and “I’m in Love With a Wonderful Guy” tells the audience immediately that Allsun is the real deal. She easily convinces handsome Devin Archer’s suave Emile de Becque the same thing. This masculine actor sings the role with absolute perfection. Archer’s mellow bass-baritone voice easily illustrates why this actor has been the star of such Broadway shows as LES MISERABLES and  MISS SAIGON. Except for the actor’s strange-sounding French accent, only heard during the book scenes, the brilliant Mr. Archer soars in each and every song. Mr. Archer’s most memorable moments include the classic hits, “Some Enchanted Evening” and his glorious, heartfelt rendition of “This Nearly Was Mine.” 

As good-looking Lt. Cable, Anthony Maggio is excellent. His performance of “Younger Than Springtime” almost stops the show. In many ways, the young officer is Nellie’s younger, male counterpart. Both have left home to escape overbearing parental and societal pressures. But once away from these pressures, each has unexpectedly fallen in love with someone special Their respective conservative upbringing, however, reminds Nellie and Lt. Cable that racial prejudice has been hammered into their heads since they were kids. Acknowledging that “You’ve Got to Be Carefully Taught,” the two begin to doubt their relationship with a person who is “differently made.” Cable spits out the lyrics of this song with self-hatred and pent-up shame. In Paramount’s grand production, this number is the real climax of the play. Fortunately, Nellie eventually overcomes the voices in her head, but for Lt. Cable that acknowledgment comes too late. 

Rodgers and Hammerstein gave the American songbook so many well-known hit tunes. Two of these songs are performed by a talented and youthful-looking Cindy Chang, as Bloody Mary. She’s hilarious and haunting as, perhaps, the smartest resident of the island. Ms. Chang enchants the audience with her comic banter, and delights the audience with an alluring and passionately performed “Bali Hai.” More than simply a comic caricature with two great songs, this Bloody Mary is a realistic mother who’s willing to do anything to secure a better life for her young daughter, Liat (lovely Louisa Darr). Then Cindy Chang’s rich vocals caress the melody and lyrics of “Happy Talk” with the ferocity of a salesperson needing to make her sale.

While providing many of the musical’s comic moments, Matthew Michael Janisse’s seabee Luther Billis is played just a tad over-the-top. The statuesque actor is loud, bombastic and always makes his presence known. His finest moment comes as “Honey Bun,” the titular, grass-skirted siren in the company’s Thanksgiving Show. Janisse does manage to demonstrate his character’s savvy survival skills that elevate his character beyond stock musical theatre stereotypes.

The show’s beauty is also achieved through the talent of a number of unseen technical artists. Once again, Jeffery D. Kmiec’s sumptuous scenic design transforms the Paramount stage to another time and place. The lush vegetation, bamboo and floating nets give the stage the desired tropical look. Projections wizard Mike Tutaj has designed a backdrop, where the waves cascade to and fro, and the mythical island of Bali Hai seems to appear magically out of nowhere. Craig Hofmann’s superb lighting design accentuates the mood and various locales of the show in a way that must be seen to be appreciated. And, as always, brilliant costume designer Izumi Inaba has created an array of authentic-looking period costumes, the most creative being the outfits for the Act II Thanksgiving show. Fashioned out of parachutes, mosquito netting and fabric that looks like newspaper comics, this clever designer has infused the production with pops of inventiveness and color.

Mr. Hayakawa and Mr. Stork must be praised, too, for the pacing of their production. In their attention to detail, the many scenes unfold and flow effortlessly, without disconnecting the audience with scenery change blackouts. The production’s tempo, both musically and in the book scenes, moves naturally but with an urgency that resembles the war itself. Choreographer Morgan DiFonza also assists by injecting some stylized dance steps into the production. And much of the extraneous music is, thankfully, shortened in order to help drive the plot forward. 

The play’s final moments are staged with a gut-wrenching and very realistic view of the war’s casualties, as all the military personnel evacuate the island. What is typically a trite, stock finale becomes a powerful statement about the hell that is war. Although there’s really nothing very new or different about Paramount’s production, there’s still a lot to recommend it. In this enjoyable, lovely, theme-driven production, theatergoers will either meet a new show from Broadway’s Golden Era, or greet an old friend that they’ve come to love over the years. SOUTH PACIFIC is a theatrical classic that reminds us that there are many today who look on war as some sort of glory. But Rodgers and Hammerstein remind us that “You’ve Got to Be Carefully Taught” that war is really cruel and hell. 

Recommended

Reviewed by Colin Douglas

Presented April 29-June 14 by Paramount Theatre, 23 East Galena Blvd., Aurora, IL.

Tickets are available in person at the Paramount Theatre box office, by calling 630-896-6666 or by visiting www.paramountaurora.com.

Additional information about this and other area productions can be found by visiting www.theatreinchicago.com

Photos by Boris Martin