South Pacific - First Preview Review

[EugLoven]

Posted: 3/2/08 at 1:47am

This isn't going to be so much a review as just a stream of consciousness. Might contain spoilers.

Lincoln Center has always been my favorite theatre company on Broadway (next to Roundabout) and they never disappoint. They also know how to keep it in the family, bringing back some past favorites. It was so beautiful to see Kelli O'Hara and Matthew Morrison together again (though they share little on-stage time, sans one duet).

The creative design is a great reuniting of the 'Piazza' team with Bartlett Sher (director), Ted Sperling (music direction), Michael Yeargan (sets) and Catherine Zuber (costumes).

OVERALL:
It's very long. 3-hours (and you can feel it). Excellent ensemble numbers. Excellent leads. Thirty-piece orchestra (may I repeat that?) Thirty-piece orchestra! Wonderful set design and lighting... key players on-stage and mood-setting. The stage is just so extremely large, sometimes people get lost in it. It's great to have this show back on Broadway, but I wonder why they chose this one. I didn't necessarily "feel" anything. Paulo Szot is marvelous. Kelli O'Hara is stunning. The male ensemble (swoon) shirtless and exciting. Sold-out crowd.

Wonderful and breath-taking surprise during the 'Overture.' Don't give it away if you know what it is!

Venetian-blinds as set dividers creates tropic effect (especially as they go up and down with the lighting).

The minute Kelli first starts singing... her first lyric has the word "yellow" in it, and when she sang that one word I thought to myself: "Oh yes, girl. You've got us!"

Matthew Morrison is sexier than ever (thank goodness Bloody Mary comes right out and says it!).

TIME AND SEASON:
Again, I wonder why they brought this back. The theatre was full of blue-hairs, so they must have felt the sigh of seeing something they're familiar with from its origins (and movie). But the shock-and-awe of the race-themes isn't as powerful.

I suppose the importance of what it USED TO MEAN to refuse someone's love based on race and social-image is what matters with this production. But for young people like myself, this musical represents a time that we didn't even live in (just part of a history book), so when we know we're supposed to be moved... we just know we're SUPPOSED to. It matters more (nostalgically and romantically) to the older crowd.

Am I vicious for not caring about Cable and Liat's relationship? Bloody Mary is essentially a Madame whoring off her daughter. Sure, Cable falls in love with her, but I've always felt it was such a weak romance (especially since we hear and learn nothing about Liat... more like a "happy ending?" mail order bride). Sorry if that's blasphemy! I still care for their characters... just don't get what the big deal was.

I guess it's a sign of the times. So Emile's kids are half-black? It's not a shocker anymore. When all the war-stuff starts happening near the end of Act 2 (esp. when the ensemble slowly marches in uniform) that's the slightest glimmer of allegory to today's world (our war vs their war).

"You Have To Be Carefully Taught" seemed very rushed and over-looked (has it always been so up-tempo?) I've always felt that was the most important part of the show. At least it's the "drive the point home" song...

Musical reminds us of the time when you could TAKE YOUR TIME in telling a story. Truly develop a relationship with 20-minutes of dialogue and soliloquies. No rushing. She's in love she's in love she's in love. The days of when composers could just "tell it like it is."

THE LOOK:
Again, set and lighting is stunning. Especially during the long opening seen with Nellie and Emile skirting around their flirtations in his house. At one point, Kelli has four individual shadows around her while the stage is lit in blue and purple. So romantic.

Pay attention to the backdrop while Bloody Mary sings Bali Hai. It's gorgeous what "appears" out of the clouds.

But the Vivian Beaumont is so big and their set goes sooo far back, people really do tend to get lost in it. My biggest problem, I suppose. Just so big with a lot of open space around set-pieces.

Did I mention the shirtless guys? Now I don't go all weak in the knees for a cheap thrill. But when you've got 20 sailors rough-housing around. And when Matthew and Liat embrace, you can't help but notice their hot bods.

Danny Burstein is a riot. Little glimpses of Aldolpho characteristics and voice. Just having fun and endearing.

THE SOUND:
Gorgeous sound, especially in that venue. I was front row loge and am convinced they weren't wearing microphones (though I'm sure they were). They all sounded so clear and organic. I was hearing THEIR voices (not through speakers).

Paulo and Kelli are wonderfully harmonic together. A note to the Broadway fans who love a power-belt. This musical reminds you that it doesn't take a broken-larynx to prove your worth on-stage. Paulo has the classical voice of the stars of the Golden Age. And Kelli balances maturity with girlishness wonderfully.

ENSEMBLE:
Recognizable faces include Noah Weisberg (Legally Blonde), Lisa Howard (Spelling Bee), Matt Caplan (Rent), George Psomas (NYMF Bway Idol 2007) and Christian Delcroix (Paper Mill). Steven Sater (Spring Awakening) was in the audience. Updated On: 3/2/08 at 01:47 AM

[ljay889]

Posted: 3/2/08 at 1:50am

I don't think they brought this show back to make a statement or to shock people with its themes like they did in 1949. I think it's back because this show has shockingly NEVER been revived on Broadway. It's a classic.

I heard 'This Nearly Was Mine' stopped the show?

[ray-andallthatjazz86]

Posted: 3/2/08 at 1:55am

How was Loretta? Is Lisa Howard the Bloody Mary understudy?
I kind of agree that the relationship between Cable and Liat is underdeveloped. Bloody Mary IS whoring her daughter off, but I do think it is beautiful that Cable falls for her and "Younger Than Springtime" is one of the most romantic tunes that Rodgers and Hammerstein wrote. It is also quite poignant that he can't conceive the idea of having an actual relationship with her due to her ethnicity. There is nothing outdated about that. Racism is alive and well in America and the world.
I am thrilled that they have a big orchestra, how neat.

[EugLoven]

Posted: 3/2/08 at 1:56am

"This Nearly Was Mine" got about 20-seconds of applause. Not a show-stopper so much as the kind of song you know you're supposed to applaud a long time for.

And Paulo Szot is just so wholesome and deep and strong.

To be honest, my mind started drifting during that number (I was getting tired. Again, it's a loooong show).

I know they didn't bring it back to shock people. And I know it's a wonder that this hasn't been revived in so long. But maybe the fact the themes don't stick so hard is a (slight?) reason it hasn't been revived? Of course, then who better to bring it back than Lincoln Center?

Yes, "Younger Than Springtime" was very sweet. Matthew's voice can do no wrong. It's even better honed and polished than "Piazza." Quite the winning tenor. Another fun one was "Wash That Man Right Outta My Hair." Kelli actually showers on-stage but then has damp hair and skin and outfit for a good 20-minutes... (couldn't help wondering if she was getting cold). "Happy Talk" had a different kind of twist... it wasn't happy! Kind of desperate and depressing as Bloody Mary's last chance to convince this Cable of his love. Updated On: 3/2/08 at 01:56 AM

[BroadwayEnthusiast2]

Posted: 3/2/08 at 2:04am

30-piece orchestra?! Wow.

Too bad the themes aren't as shocking as they were in 1949. I hope I can catch this.

[ray-andallthatjazz86]

Posted: 3/2/08 at 2:11am

The "Happy Talk" part sounds interesting. Do you have any comments on Loretta's performance? Bloody Mary earned Juanita Hall a Tony award, do you think Loretta gives a Tony-worthy performance?
I am one of the few that believe that while the show may not be shocking, it still talks about very important (and quite present) issues about racial dynamics and the way ethnicity is viewed and evaluated by whiteness.

[ljay889]

Posted: 3/2/08 at 2:15am

Is the Overture complete or truncated? I can't wait to hear those opening chords.

[EugLoven]

Posted: 3/2/08 at 2:15am

"Overture" is complete! And something astounding happens during it. and again... if you know what happens as the secret surprise during it, DON'T TELL! It's simple (though mechanically and budget-ly, I'm sure it wasn't simple for LCT to do). But just a wonderful way to open the show and make the audience appreciate what we're in for.

Loretta was swell. Not Tony-worthy though in my opinion. Then again, I come from the camp that believes positive word-of-mouth means more than awards.

She was very funny in her "stingy bastards" introduction scene. Great chemistry with all the sailor boys. They make us love her. Her Bali Hai was pretty (most intermission hummable). Her urgency with her daughter was good. Good to have a Hawaiian/Asian looking actress in the role... fit well with the rest of the exotic girls (consistent features as far as looking "native").
Updated On: 3/2/08 at 02:15 AM

[ljay889]

Posted: 3/2/08 at 2:19am

Yay about the overture! I hope no one spoils what happens.

[NYadgal]

Posted: 3/2/08 at 9:19am

The sets and lighting were magnificent.

Adored Kelli and Paulo in their roles.

"This Nearly Was Mine" was a show-stopper!

They have to tighten it up, and pick up the pace (it was SLOW!), but for a first preview, it delivered well.

I'm looking forward to seeing it over time to see what they do with it.

The orchestra... loved it!

Updated On: 3/2/08 at 09:19 AM

[morosco]

Posted: 3/2/08 at 10:39am

THE SOUND:
Gorgeous sound, especially in that venue. I was front row loge and am convinced they weren't wearing microphones (though I'm sure they were). They all sounded so clear and organic. I was hearing THEIR voices (not through speakers).

Interesting. I wonder if this has everything to do with the way shows were arranged/orchestrated "back then"?

eta: Well not everything. The sound design is by Scott Lehrer. Bravo to him to making the show sound natural.




Updated On: 3/2/08 at 10:39 AM

[Sleeper2]

Posted: 3/2/08 at 12:39pm

Loretta is amazing as Bloody Mary -- she plays it way darker than comic and you feel the pathos and desperation of a women who will do anything for a buck and anything to help her daughter. She might not win a Tony but I think she stands a good chance at a nomination. Anyway, whatever, Tony Shmony.

The design elements are gorgeous. I could live on that set. Watching Kelli and Paulo come over the dunes into his house was magical.

Kelli is not frivilous as I feared she might be. Her Nellie is leaner and tougher, less glam and less silly version. You kind of know that something has happened to her in the past. There are layers to the last scene in the first act that I hadn't seen before. There were small moments that added up to reality. (I kinda dug when she poured the remainder of her unfinished champagne into another glass. Kinda tacky, kinda party girl, kinda drunk, and not wasteful -- believable for wartime.)

Chris Gatelli and Joe Langworth's choreography is right on the money, not too much, not too little. I never liked the fact that a bunch of military people at war on an island would suddenly break into a big musical number. It always felt phony until I saw this production. You believe these people put on this show.

Overall, on the first preview, I would give this a B+ with room to tighten. This was the first time they ever performed in front of an audience, and I'm amazed at what good shape this complicated show is. Walking out, I heard Mary Rodgers say to Alice Hammerstein in the lobby: "it's great, and nothing went wrong!" That's how I felt.

Getting back to gorgeous: every honkin' ounce of Paulo Szot, shirtless Matthew Morrison, and the bare behinds of Nick Mayo and Robert Lenzi. Yes, there is a theater god.


Updated On: 3/2/08 at 12:39 PM

[shesamarshmallow]

Posted: 3/2/08 at 12:49pm

"You Have To Be Carefully Taught" seemed very rushed and over-looked (has it always been so up-tempo?)

That's how it always is.

[South Fl Marc]

Posted: 3/2/08 at 1:08pm

I probably won't get to NYC to see this - so if anyone cares to - message me with the "surprise" that happens during the overture.

Thanks.

[Tom148502]

Posted: 3/2/08 at 1:12pm

EugLoven wrote:
"I guess it's a sign of the times. So Emile's kids are half-black?"

EugLoven's comment is a sign of the times that so many people don't have a clue. It's the first time I ever heard that the off-spring of a white Frenchman and a Polynesian were "half-black". My EugLoven that's anyone who's not 100% honky is black.

[WhizzerMarvin]

Posted: 3/2/08 at 1:40pm

I am so excited to see this on the 21st:) I love Kelli so much...I'm just bursting at the seams to watch her perform these songs!!

[musicalmaster703]

Posted: 3/2/08 at 1:43pm

Does Anyone know if their is gonna be an understudy on the 14th.

(In all my B-way shows except Rent i have been cursed with an understudy for a lead.)

[jaystarr]

Posted: 3/2/08 at 1:50pm

Eugene-

1. How's the Honey-Bun & I'm Gonna Wash That Man Out my Hair numbers?

2. The shirtless guys are in "There's Nothing Like A Dame" number?

*********SPOILER*****

3. How did they show the death scene of Cable?

**********SPOILER END

and thanks for a fabulous review.. I cant wait too see this in 2 weeks!

J*

Updated On: 3/2/08 at 01:50 PM

[broadwayfan7]

Posted: 3/2/08 at 2:31pm

Sounds like you had a great time! Thanks for your review!

[EugLoven]

Posted: 3/2/08 at 3:02pm

JAYSTARR -

"Honey Bun" is fun. Not bust-your-gut funny. But still well done. Danny looks ridiculous in his get up. And it's such a throw-back to the original production when Kelli comes out in her sailor outfit.

To be honest, POST-"Honey Bun" was distracting because the cast (and some stagehands in costume) have to dismantle the on-stage stage in the darkness of down-stage, while the story continues up-stage. They leave the Christmas lights on the entire time, so it was kind of distracting. If you see the show, you'll see what I mean.

But "Honey Bun" is still fun because the cast, of course, act like they're throwing the show together. So it's fun to see a well-rehearsed Broadway company acting like a not-so-well-rehearsed Navy squad.

"Wash That Man Outta My Hair" is super cute. And fun. Real water and sudsy soap, Kelli gets all 1950s pin-up girl looking in a wet two-piece bathing suit. And (spoiler) we get to see some naked man ass!

SPOILER: Cable's death scene is done as it's always been done... Off-stage and via radio-message.

[Yankeefan007]

Posted: 3/2/08 at 3:05pm

O'Hara in a two-piece?

Hopefully they won't change the costume before I see it next weekend!

[LizzieCurry]

Posted: 3/2/08 at 3:11pm

Good to have a Hawaiian/Asian looking actress in the role... fit well with the rest of the exotic girls (consistent features as far as looking "native").

You may want to rephrase such a thing in your professional writing, Eugene...

[EugLoven]

Posted: 3/2/08 at 3:13pm

I ain't rephrasin' nothin' girl. This ain't professional writin'. Just a "dump my thoughts" thread.

[CATSNYrevival]

Posted: 3/2/08 at 3:25pm

Naked man ass? How did they work that in? I'm still a little upset that they're not using the RSC revisions. The show works better for me opening with "Bloody Mary" and "There's Nothing Like a Dame" and then going into the first scene with Emile and Nellie. Also, are they using "My Girl Back Home" or is it cut?

[EugLoven]

Posted: 3/2/08 at 3:32pm

"My Girl Back Home" is in there. Not the catchy-est song but definitely a wonder stage-picture to have Kelli and Matthew romantically reminiscing together (for all the 'Piazza' fans).