#1
Posted: 4/23/08 at 4:43am
WOW!!
I have to admit, South Pacific was one of my favorite movie musicals as a child. (I was a weird kid, what can I say?) I think one of the things I loved about it was that no matter how many times I saw it, I learned more and more...understood more and more. Tonight's viewing was no different, worlds opened up, nuances were found, interpretations were unfolding. This is NOT your grandmother's South Pacific. It is ours.
Racism and personal prejudices (in case you did not know) are at the soul of SP, and in this production they pull no punches about it: they use it and highlight it and the result is devasting. Devastingly powerful.
This was one of the most beautiful and moving theatrical experiences I've ever witnessed. (I started crying with the end of Act I and, aside from a fabulously delicious $4 cookie, kept crying through the curtain call.) The staging, the direction, the acting, the sets, the lighting: every single aspect of this show worked together to create one unified event...there was never an unwasted movement, set piece or even note of music. Even the set changes were in sync. (OK, maybe the naked tushes weren't quite in synch...but they certainly didn't retract.)
The stage at the Vivian Beaumont is ENORMOUS, but most of the story unfolds on the beautiful thrust stage. (Which, BTW, retracts to reveal the AMAZINGLY stunning 30 piece orchestra! It was a symphony for your ears.) The audience was incredibly appreciative of full orchestra and the members seemed truly moved to be reocognized as so valuable. Note about the audience in general: they were amazing. So many extended applauses throughout the show, shouts of bravo/a at well-deserved times, and many sniffles and the wiping of eyes.
I won't go into any sort of acting analysis, because short of the children (don't get me started with children on stage) the entire cast delivers both in acting and singing. Not a weak link to be had. However, standouts were EASILY found in O'Hara (Forbush), Szot (de Becque), Sayre (Bloody Mary) and Morrison (Cable). What an ensemble of fine performances all around.
The sets and lighting made it a visual smorgasbord, constantly and consitantly, without ever being gratuitious or pretentious. (The set rec'd individual applause, not once, but twice.) I wanted more, more, more: and all in a good way.
Run, do not walk: South Pacific is a keeper and not to be missed.
The rest of the shows this week have a top job of impressing me after this one.
I have to admit, South Pacific was one of my favorite movie musicals as a child. (I was a weird kid, what can I say?) I think one of the things I loved about it was that no matter how many times I saw it, I learned more and more...understood more and more. Tonight's viewing was no different, worlds opened up, nuances were found, interpretations were unfolding. This is NOT your grandmother's South Pacific. It is ours.
Racism and personal prejudices (in case you did not know) are at the soul of SP, and in this production they pull no punches about it: they use it and highlight it and the result is devasting. Devastingly powerful.
This was one of the most beautiful and moving theatrical experiences I've ever witnessed. (I started crying with the end of Act I and, aside from a fabulously delicious $4 cookie, kept crying through the curtain call.) The staging, the direction, the acting, the sets, the lighting: every single aspect of this show worked together to create one unified event...there was never an unwasted movement, set piece or even note of music. Even the set changes were in sync. (OK, maybe the naked tushes weren't quite in synch...but they certainly didn't retract.)
The stage at the Vivian Beaumont is ENORMOUS, but most of the story unfolds on the beautiful thrust stage. (Which, BTW, retracts to reveal the AMAZINGLY stunning 30 piece orchestra! It was a symphony for your ears.) The audience was incredibly appreciative of full orchestra and the members seemed truly moved to be reocognized as so valuable. Note about the audience in general: they were amazing. So many extended applauses throughout the show, shouts of bravo/a at well-deserved times, and many sniffles and the wiping of eyes.
I won't go into any sort of acting analysis, because short of the children (don't get me started with children on stage) the entire cast delivers both in acting and singing. Not a weak link to be had. However, standouts were EASILY found in O'Hara (Forbush), Szot (de Becque), Sayre (Bloody Mary) and Morrison (Cable). What an ensemble of fine performances all around.
The sets and lighting made it a visual smorgasbord, constantly and consitantly, without ever being gratuitious or pretentious. (The set rec'd individual applause, not once, but twice.) I wanted more, more, more: and all in a good way.
Run, do not walk: South Pacific is a keeper and not to be missed.
The rest of the shows this week have a top job of impressing me after this one.
If we're not having fun, then why are we doing it?
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