[NEohioPAL] Berko review: SOUTH PACIFIC @ Porthouse

[Roy Berko]

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 SOUTH PACIFIC lights up Porthouse



Roy Berko

(Member, American Theatre Critics Association, Cleveland Critics Circle)



Richard Rogers and Oscar Hammerstein, Jr. are considered the fathers of
modern American musical theatre.  Their OKLAHOMA opened the door to
musicals with meaningful storylines, and the integration of lyrics, dancing
and music to help move the plot along.



As with all of Rogers and Hammerstein’s musicals, there is a strong
societal and moral base.  This aspect of their scripts is usually
highlighted by a key song.  In SOUTH PACIFIC, which is the opening show of
Porthouse Theatre’s 2013 season, it’s the poignant *You Have to Be
Carefully Taught* which keys the concepts of racism and prejudice that
underscores the story.



Premiering in 1949, the original Broadway production, which starred Mary
Martin and Ezio Pinza, became the second longest running musical of its
time.  That production won ten Tony Awards.  A 1958 film and a 2008 revival
were also critical and audience successes.



Based on James Michener’s Pulitzer Prize winning book, THE TALES OF THE
SOUTH PACIFIC, the World War II story relates a tale of Nelly Forbush, an
army nurse from Little Rock, Arkansas, who falls in love with Emile De
Becque, a middle-aged French expatriate plantation owner who has two
mixed-race children, and a parallel love story between Lt. Cable, also an
American southerner, and Liat, a Tonkinese woman.  Because of  Forbush and
Cable having been imbued with racial biases, both love affairs run into
difficulties.



The show is imbedded with wonderful songs including *Cockeyed Optimist*, *Some
Enchanted Evening*, *Bali H’ai*, *Younger Than Springtime*, *Happy Talk*,
and *Dites-Moi.*



Artistic Director Terri Kent knows her Porthouse audience well, and SOUTH
PACIFIC is definitely their kind of show.  She directs for audience
enjoyment, creating a show filled with joy, sprinkled with pathos.  She
succeeds well.



Mary Ann Black’s choreography is sprightly, Ben Needham’s set creates the
right Pacific Island atmosphere, and musical director Jonathan Swoboda does
a good job with the chorus and lead performers’ vocal sounds.  The dual
pianos sound rather naked playing the lush score.  This was a production
that could have been aided by a full orchestra.



Though her needed Southern accent came and went, pretty Kayce Cummings
(Green) generates the right level of cutesiness to make for a charming
Nellie.  Her *I’m Gonna Wash That Man Right Outa My Hair* was delightful.



Cleveland area favorite Gregg Violand has advanced to the age level where
he can use his powerful voice to aid in developing a convincing Emile.  His
consistent French accent adds to the creation of a believable character.  His
*This Nearly was Mine* was beautifully interpreted and sung. There is a
nice connection between Cummings and Violand.



Tim Welsh delights as the scheming con-man Luther Billis.  *Honey Bun*,
sung with the Cummings, was an audience favorite.



Kaishawn Thomas was lovely as Liat and, though she didn’t quite play enough
for the requisite laughs, Coleen Longshaw was an acceptable Bloody Mary.



*CAPSULE JUDGMENT:** Under the directing abilities of Terri Kent, the
Porthouse production of SOUTH PACIFIC makes for a fine evening of summer
entertainment.*



SOUTH PACIFIC runs until June 29 at Porthouse Theatre, on the grounds of
Blossom Music Center.  For tickets call 330-672-3884 or go online to
www.porthousetheatre.com.



NEXT UP AT PORTHOUSE:  WORKING, runs July 4-20, followed by FIDDLER ON THE
ROOF, July 25-August 11.  Curtain time is 8 PM Tuesdays through Saturdays
and 2 PM Sundays. The picnic grounds at Blossom open 90 minutes prior to
curtain time.
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