South Pacific

Its 1940’s racist theme may be somewhat confronting for modern audiences, but South Pacific is also a barometer of the resistance emerging at that time towards such prejudice. This, together with a wonderful love story and the perpetual mateship of war stamps South Pacific as perhaps the most interesting and enduring of Rodgers and Hammerstein’s musicals.

Brought to Australia directly from Broadway, Opera Australia’s production of South Pacific occasionally teeters on the brink of unevenness with its juxtaposition of the overwhelming operatic baritone of Teddy Tahu Rhodes against the voices of musical theatre stars and pop singers. Even so, it never tips over the edge.

As Emile De Becque, Teddy Tahu Rhodes owns the stage, not only through his superb baritone but also his physicality. His rendition of numbers such as ‘Some Enchanted Evening’ and ‘This Nearly Was Mine’ is glorious.

Lisa McCune’s interpretation of nurse Nellie Forbush is enchanting; sometimes playful, often vulnerable and always thoroughly real. Her singing is controlled and soars delightfully, particularly in ‘A Cockeyed Optimist’, ‘A Wonderful Guy’ and ‘I’m Gonna Wash That Man Right Outta My Hair’.

It is interesting that the contrast in physicality of the two leads only serves to enhance the differences between the lovers they portray- one a powerful middle-aged French plantation owner, the other a slip of a girl, brought up in America’s south with simple yet essentially racist values.

The role of Bloody Mary has traditionally been performed by older actors than Christine Anu, however Anu brings a strong authenticity to the role. Her Bloody Mary does not see Bali Ha’i as a spiritual place, as occurred in the 1950’s movie version. Instead, she recognises it as an island where young native women are used and abused. Anu realistically portrays Bloody Mary as a simple street vendor prepared to sell her own daughter as she struggles to make a living against the power of the French plantation owners, which was the true experience for islanders of the time.

Mitchell Butel almost steals the show as Luther Billis. He has wonderful comic timing and endless energy as he leads a slickly acrobatic and highly entertaining ensemble of ‘Seabees’, the sailors who turn their hands to many a task. The ensemble’s rendition of ‘There is Nothing Like A Dame’ is a highlight.

Blake Bowden delivers a fine tenor performance as the doomed Lieutenant Cable. His rendition of ‘Younger Than Springtime’ and ‘You’ve Got To Be Carefully Taught’ (a highly controversial number for the first production in the 1940’s) is sublime.

Amongst the remaining cast, Bartholomew John is very fine as irascible Captain Brackett and Celina Yuen is heartbreakingly vulnerable as Liat. The nurses who give as good as they get from the sailors and marines are delightful.

Technically, the production is excellent. The set evolves seamlessly as it depicts the various island settings, while the evocative lighting and mist-shrouded backdrop of Bali Ha’i help draw the audience into the story.

The Adelaide Art Orchestra, led by Musical Director and Conductor, Stephen Gray, is sublime in its performance of South Pacific’s original orchestration.

Directed by Bartlett Sher, Opera Australia’s South Pacific is magnificent. I’d see it again in a heartbeat.

Lesley Reed

Images (from top): Lisa McCune as Nellie Forbush & Teddy Tahu Rhodes as Emile De Becque. Photo by Jeff Busby. Blake Bowden as Lieutenant Joe Cable & Christine Anu as Bloody Mary. Photo by Kurt Sneddon. Mitchell Butel as Luther Billis. Photo by Kurt Sneddon.