Since Rodgers & Hammerstein and Joshua Logan wrote South Pacific, the musical theatre genre has been redefined and we are now very fortunate to have a diverse abundance of shows to suit a range of audience desires. After a successful run last summer, Chichester Festival Theatre’s production of South Pacific, delayed from the 2020 season, is currently being performed at Sadler’s Wells in London as part of a UK tour. South Pacific first arrived on Broadway over 70 years ago, but this production conveys how the golden age musicals are still as stupendous now as they were back then.

During the Second World War, U.S. Navy Ensign Nellie Forbush (Gina Beck) is stationed on a South Pacific island, far from her hometown of Little Rock, Arkansas. She has met French plantation owner, Emile de Becque (Julian Ovenden), and the two have fallen in love. The love at first sight trope is one that can be difficult to communicate in a believable way in a large theatre staging but Beck and Ovenden have beautiful chemistry together from the offset. Beck’s voice is gorgeous and, though she was not born when Rodgers and Hammerstein and were alive, the music feels as though it could have been written for her.

We next meet the U.S. Navy Seabees, who explode onto the stage teasing the native Bloody Mary (Joanna Ampil). The Seabees mourn a lack of available women on the island and treat us to a high energy, masterfully harmonised performance of ‘There Is Nothing Like A Dame’. Being performed at Sadler’s Wells, primarily a venue for dance, such strong and well executed choreography in this number is a welcome surprise. South Pacific is not known for being a ‘dancey’ show but this production is filled with effective movement from choreographer and movement director, Ann Yee. So much of the choreography has an improvised feeling to it and recurring movements throughout the show provide a sense of seamlessness. 

U.S. Marine Liuetenant Cable (Rob Houchen) joins those stationed on this island to perform a Navy mission and becomes tempted by Bloody Mary to visit the island of Bali Ha’i. Houchen gives a lovely performance as the educated and serious, yet naive, Cable who battles with the racial prejudices he has been ‘carefully taught’.

South Pacific is a piece of art and, just as the musical theatre world has progressed since 1949, so have societal attitudes towards race and gender. Therefore, in 2022, these should be viewed with a critical eye and an understanding that many of the characters and outlooks portrayed are very much a reflection on the time period it was written. Despite South Pacific being extremely progressive for its time for exploring racial prejudices and interracial relationships, it is shown from a western point of view. 

That being said, this production does well to provide more meaningfulness to its characters from ethnic minorities. Joanna Ampil gives Bloody Mary an interesting character arc, moving away from other exaggerated portrayals of this role, highlighting that this is an intelligent woman whose every move is purposeful. Bloody Mary’s silent daughter and Cable’s love interest Liat (Sera Maehara) is given a voice through movement and dance. This character development of the two main Tonkinese characters is very welcome whilst maintaining the piece still closely to the original musical.

At the end of the first act, Nellie Forbush is revealed to be racist, seemingly unable to get past the fact that the man she loves could have married a Polynesian woman, a stark contrast from her cock-eyed optimism we have known up until this point. This is an uncomfortable revelation for audiences particularly in today’s society but it is important to acknowledge these prejudices that are still disappointingly relevant. Some audiences therefore may struggle to understand why Emile de Becque is not put off by her racism. 

Ovenden sings the heartbreaking ‘This Nearly Was Mine’ lamenting what his love with Nellie could have been. This number is performed so perfectly it shines at the forefront of an already superb show. Ultimately, for these two lovers, there is a happy ending and Nellie is able to overcome her racial prejudices, where Cable is not, nor does he get the opportunity and this concludes the show with an interesting observation on racism.

There is a reason South Pacific is hailed as one of the greats and it is a delight to see this musical back on stage in a show that does it so much justice. This production showcases racism and progressive racial attitudes that remain crucial to be shown today, interlaced into a traditional musical format making clear that traditional musical theatre still has a place in theatres. South Pacific treats audiences to an enchanting set of wonderful performances in a pertinent staged piece of art.

***** Five stars

Reviewed by: Cat Hancock

South Pacific plays at Sadler’s Wells until 28 August, with tickets available here.