South Pacific

Reviewed by Holly Bartges

With war horses as beloved as South Pacific, ghosts of past performances not only hover over the heads and in the minds of the performers, but sit on the shoulders of the audience as well.

Beth Beyer as Ensign Nellie Forbush and Thaddeus Valdez as Emile deBecque star in the Country Dinner Playhouse’s production of South Pacific

Ghosts are certainly in evidence with Country Dinner’s current production of South Pacific. This time, however, they are as awestruck as the audience for what they see and hear. Rogers and Hammerstein’s magnificent adaptation from the Pulitzer Prize novel, “The Tales of the South Pacific” by James A. Michener sits on the right hand of outstanding productions.

Even with the scant set designed by Rob Westan, which a theatre in the round demands, nothing is lost or found wanting.

The stellar cast under the direction of Bill McHale, breathe life into the all too familiar characters as though this show has never been done before. To believe characters, to believe who they are and believe what they say is a coup for any cast with a musical production.

Thaddeus Valdez disappears inside Emile de Becque, a Frenchman who found solace in the Islands after killing what he considers a bully. In his hiding he has built a magnificent plantation, and he wants only to be alone. But, not alone, alone. He wants someone to share it with him. He sees it in the eyes and smile of the perky, backwoods nurse, Ensign Nellie Forbush beautifully portrayed by Beth Beyer. Pairing Valdez and Beyer had to be sheer inspiration. As Valdez said after the opening night performance, “who couldn’t fall in love with her?” When Valdez as Emile sings “Some Enchanted Evening,” who couldn’t fall in love with him? His rich melodic voice fills every note with perfection.

All is certainly not peaches and cream in this love affair. It’s WWII, and Nellie is part of a naval base, where Captain George Bracken has more on his mind than love affairs. Marcus Waterman brings Bracken into naval shape. His concerns are real, as well; they should be. It’s wartime with war dangers, and Bracken permeates the war atmosphere.

On any base when tension runs rampant, shenanigans happen. For South Pacific, the head of shenanigans falls to Luther Billis delectably brought together by Paul Dwyer who reads comic timing with an inborn clock. Dwyer doesn’t play Luther for the laughs. He plays Billis as the uncouth, unsophisticated, conscientious, with a heart as big as all outdoors burly man he is. He plays him for real. He plays him straight, and therein lies the humor, and therein lies the laughs.

Rob Costigan plays Stewpot for all he’s worth. Put Costigan in the middle of a large cast on stage and he’ll always stand out. He wears his character with comic class.

Michael Dustin Youree as Radio Operator Bob McCaffrey drives home the poignancy in the midst of beautiful rich music when contact with de Becque and Lt. Joseph Cable is lost. His demeanor brings war close to home, not only to Nellie but also to Bloody Mary (Heather Fortin Rubald) and her daughter Liat, (Natalie Liccardello). The very pretty Rubald provides a marvelous Bloody Mary. The role is always fun, but Rubald is delicious in this role.

When Joe sings “You’ve Got To Be Carefully Taught,” the truth of its words cuts deep into our upside down society.

When Nellie sings “A Cockeyed Optimist,” you believe her. When she sings “I’m Gonna Wash That Man Right Out of My Hair,” you believe her. When she sings “I’m In Love with a Wonderful Guy,” you believe her. When Billis, Stewpot, Professor (Joey Kovach) and the Male Chorus sing “There Is Nothing Like A Dame,” you believe them.

Even the small orchestra conducted by Wendell Vaughn sounds richer, stronger, and bigger with the Rodgers and Hammerstein music.

If any scene could be stronger, it is with the children Jerome (Matthew DeLong) and Ngana (Jasmine Kief) and the servant Henry (Jonathon Pagaduan). The children look uncertain and Henry begs to be expanded. The children are double cast with Louise Feher-Peiker and Karrie Miyamoto. Their roles are important to the story. They need to know there are no small roles, and de Becque’s children are dearly loved. With the highly polished professional cast surrounding them, no doubt, they will grow in their confidence to show the audience who they really are.

Generally, South Pacific falls into the frills and lace of love and comedy with rich music and singable songs, but this time around it feels differently. This time around its poignancy peaks through. Through the years, its truth speaks loudly, creating something new in its magnificence.

Call early. Reservations will be difficult to come by.