Photo of Paulo Szot and Taylor Louderman in the Muny production of South Pacific by Phillip Hamer
Rodgers & Hammerstein’s South Pacific is perfect Independence Day entertainment. Alternating between fun, frisky romantic comedy and high-stakes high seas adventure, the show has something for everyone. It also takes us back to the bygone days when the U.S. was seen as the “good guy” on the world stage. Even with a minor rain delay pushing our exit time past 11:00 p.m., the entertainment was top-tier. If the evening felt a bit muggy, one could hardly complain; it’s a far cry from the actual conditions the real sailors faced in the Pacific theater during the Second World War.
First performed on Broadway in 1949, South Pacific was an instant smash hit that riveted audiences in the immediate aftermath of WW II. Based on James A. Michener’s Tales of the South Pacific, the musical swept the 1950 Pulitzer Prize for Drama and cleaned up at the Tony Awards, setting a new standard for American musical theater. Seeing the narrative live reveals why it remains a landmark of the stage. The show balances its catchy musical numbers with the somber reality of a war looming in the background; the romance doesn’t just happen during the war, it is fundamentally defined by it. These characters live with the constant knowledge that they could die at any moment, which makes every embrace and every stolen moment of relief feel significantly more urgent.
The narrative focuses on two primary romantic entanglements: the U.S. Navy nurse Ensign Nellie Forbush (Taylor Louderman) and the enigmatic French plantation owner Emile de Becque (Paulo Szot), alongside the ill-fated romance between Marine Lt. Joseph Cable (Michael Canu) and Liat (Michaela Marfori). The plot serves as a complex examination of cultural clashes. Bloody Mary (Joan Almedilla) is a Polynesian businesswoman who makes a living selling souvenirs of dubious value to young privates and cadets—everything from grass skirts to shrunken heads. She seems to land on the perfect hustle when she meets the handsome Lieutenant Cable; she quickly shifts to playing matchmaker, setting Cable up with her daughter, Liat, who does not speak English. Despite seemingly insurmountable cultural barriers, Cable falls for the beautiful woman, whose silence only makes her more mysterious and alluring.
The musical’s primary strength, however, lies in the central romance. Taylor Louderman and Paulo Szot possess a natural chemistry, delivering their numbers with spirit and longing. St. Louis theatergoers may recognize the Tony-winning Szot from his standout performance as Signor Nacarelli in the Opera Theatre of St. Louis production of The Light in the Piazza. He played a supporting role in that play, teaching his naive young son how to woo the woman of his dreams. Now it’s Szot’s turn to play the romantic lead, and he’s dashing indeed. Nellie is at first swept away by the charming and gentle Emile, but she reveals her Southern American prejudice when she meets his half-Polynesian children. Her character arc is handled with sensitivity and directness; the play does not let Nellie off the hook. She acknowledges her discomfort with her own prejudice and genuinely wants to change and find a way forward. Because of this, her growth is satisfying and her happy ending feels earned.
Supporting performances are equally strong. Bobby Conte’s Luther Billis plays like a hustler whose schemes rarely succeed but somehow always lead to a new opportunity. The ensemble cast is uniformly excellent, and numbers like “I’m Gonna Wash That Man Right Outa My Hair” provide a perfect display of sisterhood and verve. The technical production at the Muny is characteristically clever, utilizing a minimalist open design with sliding backdrops to represent the ocean and jungle. A swivel stage in the center serves as a versatile anchor, transforming from a dock for sunset swooning to a stage for a USO show with a very DIY feel. The show-within-a-show brings us the best comic number: the gender-flipped “Honey Bun,” which features Nellie in a sailor outfit and Billis in a blonde wig.
South Pacific remains a reminder of the genre’s endurance. It’s an evening of entertainment that balances its crass, mischievous side—mostly courtesy of Billis and Bloody Mary—with a somber, emotional finish. It may not provide a neat, fairy-tale ending for everyone, but it is a thoroughly human one, and that is why it remains a masterpiece.
As the Muny season continues, it’s interesting to see the progression of the program. We began the summer with the raucous, flatulent irreverence of Shrek, followed by this more traditional American classic. The season ahead offers a distinct contrast, moving from the historical grit of South Pacific to the recent musical sensibilities of Disney’s Newsies (premiering July 16), the Motown intensity of Ain’t Too Proud: The Life and Times of The Temptations (July 27), and finally, a local favorite, Meet Me in St. Louis (August 6). | Rob Von Nordheim
South Pacific runs through July 12 at the Muny. For more information or to purchase tickets, visit muny.org.
