[NEohioPAL]SOUTH PACIFIC LACKS SPONTANEITY AT PALACE

[Roy Berko]

SOUTH PACIFIC PLEASING BUT LACKS SPONTANEITY AT THE
PALACE

Roy Berko
	
(Member, American Theatre Critics Association)

--Times Newspapers--

Lorain County Times--WestlakerTimes--Lakewood News
Times--Olmsted-Fairview Times


When, on March 31, 1943 the curtain came up at New
York’s St. James Theatre, and a lone male voice sang
out the words to "Oh, What a Beautiful Morning," a new
era in musical theatre was ushered in.  Richard Rogers
and Oscar Hammerstein took the art form from an
escapist vehicle to a new level when they conceived
OKLAHOMA.   Most musicals since then follow the Rogers
and Hammerstein pattern of the well-made play which is
a story line into which the music and the dancing are
integrated, a story line that has a beginning, a
middle and an end.  

They also developed the concept of having the first
act end with a problem that will be solved in the
second act.  The viewer must come back or the solution
to the dilemma won’t be known.  

The duo also used a writing technique that was
uniquely their own.  In each of their shows they had a
key song that carried a philosophical social message
that was the key to the show.  In THE KING AND I the
decision that had to be made about breaking with the
past and moving into modernity was presented in "It’s
a Puzzlement." In CAROUSEL the question of faith and
courage was brought forth in "Never Walk Alone." In
FLOWER DRUM SONG the challenge of breaking from
cultural traditions was highlighted in, "The Younger
Generation." In what some critics think is their best
musical, the 1953 Pulitzer Prize winning SOUTH
PACIFIC, the powerful "You Have to Be Carefully
Taught," confronts the subject of racism.

In spite of the brilliance of the script one might
wonder whether the touring production of SOUTH
PACIFIC, now at the Palace Theatre, focuses on the
play or its superstar Robert Goulet.   From his solo
first entrance, which was met with prolonged applause,
to the spotlights which were always a little brighter 
     on him than anyone else, the staging seemed to
center on him.  He is well-suited in voice, age and
stature to portray Emile de Becque, a role he made his
own in a 1987 revival of the show that toured the US
and Canada.  Unfortunately, it appears that he has so
comfortably fit into the role that he is on automatic
pilot.  This attitude seems to have been picked up by
the cast as they go through the motions of the show. 

The tale centers on an island in the South Pacific
during World War II.  Two love relationships are
threatened because of prejudice.  Nellie, a nurse from
Arkansas, falls in love with the mature French
planter, Emile.  Nellie learns that he has been
married to now deceased islander and has two children.
 She reacts negatively to his liaison with a
dark-skinned native.   Lt. Joe Cable denies himself
the love of a Tonkinese girl, with whom he has fallen
in love, out of the same prejudices that haunt Nellie.

The show’s wonderful musical score includes: "Some
Enchanted Evening," "There is Nothing Like a Dame,"
"Bali Ha’i," "I’m Gonna Wash That Man Right Out-a My
Hair," and "Honey Bun."

Amanda Watkins makes a pleasant Nellie.  She is
attractive, has a fine voice and a nice vitality.  Her
scenes with Goulet, however,  lack the intimacy
necessary to make their love seem believable.   Brian
Noonan, who has matinee idol looks, has a powerful
singing voice.  His renditions of "Younger Than
Springtime" and "You’ve Got to be Carefully Taught"
were show highlights.  Armelia McQueen is delightful
as Bloody Mary.  David Warshofsky needed more
abandonment in portraying Luther Billis.  The men’s
chorus was outstanding.

The orchestra’s musical sound was fine.  The
choreography lacked creativity.  The settings worked
well.

This production of SOUTH PACIFIC is not bad.  It is
quite pleasant, but, it lacks that extra spark that
transposes a show from good to great.

For tickets call 216-241-6000 or 800-766-6048, visit
on-line at www.playhousesquare.com or stop at the Play
House Square box office.  Tickets are priced from
$21.50 to $48.50.  The show runs through November 17.


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