Review: South Pacific – An Enchanted Evening


Rodgers & Hammerstein’s South Pacific is a beloved American classic, and its songs are part of the familiar score of our lives (either by our choice or in elevators!). And now, the Kahilu Theatre has brought it to our own “special island.” It is of particular resonance to us, since many of us did indeed respond to our own island’s magnetic pull, as Bali Ha’i does in the show, “Come to me, come to me.” A few of us lived on Hawaii or Oahu during the Japanese attack on Pearl Harbor and remember those war days.

The story, based on James Michener’s book about his Navy experience fighting the Japanese in the South Pacific during World War II, exposes the class and race contradictions of the various nationalities bottled up on a tiny island. It is a French colony, and the French planters live opulent lives off of Polynesian labor; romantic lead Emile De Becque’s mansion is glorious, and native servants are at his “becque” and call. Tonkinese Bloody Mary isn’t just kidding when she calls the French and Americans “stingy bastards.” She must use her substantial toolkit of wiles to extort a few bucks from the foreigners. Then thrown into the mix are newcomers, U.S. Seabees, virile young men super bored from waiting for military action and the lack of contact with “dames.” Nurse Ensign Nellie Forbush is the focal character; she falls in love with Emile and then must confront her own feelings about race.

Makana as Lt. Joseph Cable

First performed in 1949 right after war’s end, the musical tackles racism head-on. Nellie, a self-described “cock-eyed optimist” and believer in the goodness of humankind, nevertheless considers darker people to be inferior to whites. She is ready to marry Emile – until she finds out he had a first wife who was Polynesian, and that two darker-skinned children are his. She recoils in horror and seeks to leave the island. In the second romantic relationship, Lieutenant Cable falls in love with a Tonkinese girl but refuses to marry her; he realizes that a cross-racial marriage would never work. When Emile questions him as to whether it is natural for Americans to discriminate based on the color of a person’s skin, Lt. Cable responds in a surprisingly political song for a light musical, “You’ve got to be carefully taught… you’ve got to be taught to hate and to fear/it’s got to be drummed in your dear little ear… before you are six, or seven or eight/To hate all the people your relatives hate.” In the 1950’s, some venues asked that this song be cut, and it was difficult to book South Pacific in some Southern states. Rodgers and Hammerstein refused to make any changes, saying that addressing racism was their explicit intention.

The musical is less progressive when it comes to gender. Emile is old enough to be Nellie’s father, yet he sings, “This is what I need/This is what I long for/Someone young and smiling….” Why can’t he long for someone middle-aged and smiling?! Lt. Cable sings, “Younger than springtime are you…” Yes indeed, in fact she’s under age. They have sex the first time he is introduced to her for that purpose; she’s being sold to him by her mother. Hmm, in this time of #MeToo, the two sets of romantic relationships hardly sound like recipes for true love.

Larry Adams as Emile De Becque

The Kahilu production hewed closely to the original stage and movie performances. The staging, costumes, ensemble pieces, and characters depictions were as familiar and comforting as pulling on an old mu’umu’u. Chicago based Larry Adams as Emile sang with ease and emotion and was largely responsible for creating the romantic moods. It was thrilling to have Makana, Hawaii’s musical powerhouse, on Waimea’s own stage. He has gained international acclaim for his fine performances as guitar player, singer/songwriter, and political activist; we were privileged to see and hear him take a new leap into musical theater. Justin Henshaw acted a certain archetypical American male – enterprising, obnoxious, self-aggrandizing – but a charming rogue. Justin brought Luther Billis to life with comic flair; his commanding officers don’t know whether to admire him or to throw him in the brig. Angela Dee Kuliaihanu’u Alforque as Bloody Mary provided the female comic counterpart, performing her lines and songs with appropriate bravado.

Kat Reuss & Justin Henshaw

But the evening belonged to Kat Reuss as Ensign Nellie Forbush. She stayed in the character of a small-town Southern girl, curious, playful, naive, open-hearted, a natural leader. She had the best acting chops on the stage and delivered both sad/romantic songs and swingy humorous ones with equal panache. She made us share her torn emotions and won our hearts.

Kudos to the excellent orchestra members and Barbara Kopra for her musical direction, and especially to Director Chuck Gessert. It was truly an enchanted evening.

Photos: Steve Roby



  1. Angela Dee Kūliaikanu’u Alforque on

    Bloody Mary does not “sell” Liat to Lt. Cable, as the reviewer says. Bloody Mary is financially independent; both the original book and the musical state that she causes an economic revolution on the island by disrupting the plantation labor system. She neither wants nor needs Cable to “buy” her daughter. On the contrary, she covets a son-in-law to stay on the island with them, one whom she is willing and able to support. Yes, Liat’s agency, besides actually having a choice between two possible suitors, is almost nonexistent in the script, but so is the context of what Asian and Pacific Islander women did to survive and thrive in foreign-occupied land during times of war. While American theatre has a long way to go in representing these experiences, the White creators of South Pacific had the vision to address their White audiences about their collective racism nearly 70 years ago. The disturbing relevance to the present is what makes this production still resonate in our place and time. If Bloody Mary’s character and storyline could bring, in addition to comic relief, a little bit of humanity to this music and message, then she is one of my favorite roles ever.

  2. Thanks for your comment Angela! Bloody Mary is indeed perhaps the smartest person in the show, who understands better than the rest the relationships between the various groups, and how she can best benefit from “playing” the French and Americans. There is a moment when she mentions a few thousand dollars she’d like from Cable, but then because Liat actually likes the handsome American, she most wants her daughter to be happy.
    American theatre today is wrestling with the issues that arise from representing different periods of history when the norms were different, particularly regarding the role of women. For example, one opera company changed the ending of Carmen, a tough but abused woman, to better fit the sensibilities of today; another theater changed A Doll’s House to a contemporary setting to show that things have NOT changed; while others like the producers of South Pacific make the choice to stay with the original, illustrating the way things used to be. It is an artistic choice, and all three are valid.
    Regardless, your interpretation of Bloody Mary was spot on. I hope to catch you in future performances!

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