THEATRE REVIEW: South Pacific - The Opera House, Manchester.

Sometimes, for whatever reason, the revival of a "classic" musical feels somewhat flat and awkward in today's climate, with our modern progressive generations. However, with its 'ahead-of-its-time' commentary on racism, superbly brought to the fore in this production by director Daniel Evans, and a modern interpretation in design and realisation, it felt much more contemporary and relevant. Such a shame it didn't also promote an anti-war message too... but hey, you can't win 'em all!

This is Chichester Festival Theatre's very modern-looking production of the 1949 Broadway hit, 'South Pacific', which tells the story of nurse Ensign Nellie Forbush and an ex-pat French plantation owner, Emile de Becque and their mutual love, whilst a sub-plot shows another romance between Lt. Joseph Cable and Liat, Bloody Mary's daughter. Both romances seem doomed because both Nellie and Cable are unable or unwilling to cast aside their own racist prejudices - Nellie's disgust and repulsion that Emile had a local wife who bore him two half-caste children is excellently outlined in this production, (on it's first mention, bringing an audible gasp from the two men seated directly behind me this evening), whilst Cable's thoughts are brought to the fore with his second act solo, 'You've Got To Be Carefully Taught'. 

This production doesn't shy away from the second world war and the disruption and chaos, as well as mistrust and loss of life, the American presence in the South Pacific wrought. In fact, there were moments in this show which reminded me very strongly of 'Miss Saigon'. [it also had elements of 'The King And I' and 'The Sound Of Music' too...!]

Using a central revolve [sometimes overusing it], and a minimalist set, it is ideal for a touring production. Although for me the corrugated backdrop with the outlining of a south pacific mountain scape projected onto it, was a little too scant. I did enjoy De Becque's terrace and the variety show stage though. 

The casting was generally excellent. Gina Beck was every inch the glamorous 1940s all-American girl, whilst Julian Ovenden truly impressed with his very underplayed and sincere characterisation of Emile De Becque; and with his almost operatic mellow voice, I could have listened to him all night and not got bored. I have to admit to not warming to the character of Bloody Mary (Joanna Ampil) at first. It had been directed too much like a caricature. However, once she started to become a true part of the storyline, she beacme far more relatable and a real and sympathetic character blossomed. The comedy character of Luther Billis was performed this evening by underdstudy, Dougie McMeekin, and he pitched the role just right. The comedy was not overt, and he always kept on the right side of truthful and believable, giving a lovely ovation-worthy turn as 'Honey-Bun'. Rob Houchen was a very young Lt. Cable, and Sera Maehhara, Liat. My only one negative comment being that there was absolutely no chemistry between these two this evening; it was impossible to believe they were in love. 

With a powerful supporting cast, strong choreography, and solid musical direction, good sound levels throughout, this was a thoroughly enjoyable, yet much more thoughtful and intense version of the musical than one would normally expect. A truly superb production.

Reviewer - Matthew Dougall
on - 19.7.22