MTP “South Pacific,” a Big, Beautiful Show

Greg Wilson/Anderson Observer

It's difficult to know where to begin in praising Mill Town Players "South Pacific," which opened Friday night at the Historic Pelzer Playhouse, because it is a work of such ambition and magic, with an expansive cast, sweeps the audience away.

From its very first scene, the play finds love blossoming with a profound conviction; any notion of “love at first sight” vanishes, leaving a clear picture of love in bloom.

There is so much credit to unleash for such an accomplishment, including something local theatergoers have grown accustomed to, the sharp presentation and navigation of the story by Director Mary Nickles. No scenes ring false or drag on too long, and a few even build a depth rarely seen this side of Broadway.

This astonishing success is also due to, in no small measure, the singular chemistry exhibited by the production's principals, Eliza Burdette and John Michael Cox. Their interplay in this chronicle of two souls adrift amidst the tides of war is nothing short is a revelation.

What Nickles has achieved here is a remarkable evocation of that pure, unburdened affection with which American playgoers once embraced the musical theater – before the genre grew entirely too preoccupied with its own cleverness. Her staging is an act of unqualified trust in the material, which is wise.

The musical is based on James A. Michener's 1947 Pulitzer Prize-winning book, "Tales of the South Pacific," Michener's collection of short stories, drawn from his experiences as a naval historian during World War II, which provided a rich tapestry of characters and situations set against the exotic backdrop of Melanesian islands.

The musical production was given life by the legendary Richard Rodgers (music) and Oscar Hammerstein II (lyrics and book, book also work of Joshua Logan, who directed the original Broadway production in 1949). This was the pair’s fifth collaboration, following hits such as "Oklahoma!" and "Carousel."

By the time "South Pacific" concluded its initial engagement on Broadway, a formidable run stretching over five years and 1,924 performances, it had, in its own way, irrevocably altered the cultural landscape, reaching an estimated 3.5 million theatergoers, a staggering figure for the era. It was only the second musical ever to be bestowed with the Pulitzer Prize for drama. The original cast recording sat as No. 1 album for an astonishing 69 consecutive weeks. It was also marketed in a very modern fashion, South Pacific" scarves, "South Pacific" lipsticks, even "South Pacific" neckties.

It also served as a barometer of America's post-war ascendancy—a period marked by a curious tension between burgeoning national abundance and entrenched domestic intolerance. One song echoes the call to our better angels: "If you don't have a dream, / How you going have a dream come true?" Simple, yet profound.

But Mill Town Players “South Pacific” is far from a nostalgic relic, the production pulses with a vitality, a sensual fluidity that keeps it from ever feeling dated, despite the fact that many in the audience were undoubtedly most familiar with the story from the 1958 film version.

It is also the work in which it remains culturally relevant with two intertwining inter-racial romances. In an unambiguous plea for racial understanding, the song “You’ve Got to Be Taught,” reveals the source of the racism: “You’ve got to be taught to hate and fear,

You’ve got to be taught from year to year,

It’s got to be drummed in your dear little ear—

You’ve got to be carefully taught!”

Ragland intentionally cast Asian actors for all the parts of the islanders, and the result is resplendent. Much of the production would have suffered from any other choice.

Yet, taught or not, it remains a source of dramatic tension for the two love stories in the play.

Nellie (Burdette), the Navy nurse from Little Rock, Arkansas, whose affection for Emile (Cox), a widower and French planter, flounders upon the revelation of his two children by a Polynesian woman. Emile, ironically embodies the optimistic hope and a spirit of American resilience.

Burdette beautifully portrays Nellie’s growth, by embracing the character’s apprehensions and inner conflicts. From her arrival on the island, she is overcome by the exotic allure of her surroundings which fuels her energetic nature. Even in her songs where she sings, she’s “in love with a wonderful guy” or “I’m going to wash that man right out of my hair,” her genuine emotions are on display.

It's in contrast to Cox’s calm Emile. Even his showstoppers "Some Enchanted Evening" or "This Nearly Was Mine," these are not mere offers of more relaxed, thoughtful and sincere contemplations of the profound mysteries of love.

And before I forget, the orchestra was an unseen backbone of the production, often painting the scene changes and bringing extra life to the great songs.

The Mill Town Players show avoids recent trends of either darkening or adding schmaltz to the classic material, and the result is a home run.

Will Ragland’s scenic designs are rich and orchestral, keeping with his trademark work that outshines almost any other in theaters. Palm trees, island flowers, a talent show stage (front and back) are all played to perfection, creating a visually musical experience. His ingenious use of slatted screens, which define interior spaces while never fully shutting out the vibrant world of the islands.

Musical Director Julie Florin brings life and heart to the songs, which breathe throughout the production, without falling into the trap of overdoing even the most audacious of numbers, such as “There Is Nothin’ Like a Dame” (with is led by Noah Thomas, whose Luther Billis is a marvel of infectious cunning.) Thomas, as a trickster with a good heart, doesn’t allow his character to fall into a ridiculous Gomer Pyle territory, but instead creates a memorable and fun Luther.

Meanwhile all eyes are on Monette Fowler as Bloody Mary every time she walks on stage. Her performance is both fine-tuned and audacious, no easy feat. And her mystic singing on “Bali Ha’i,” reveals she is far more than a seller of grass skirts and shrunken heads. It is impossible not to follow her every move on stage.

Speaking of movement, the ocean wave-like banners of the native women dancing on the Bali Ha’i island are nearly hypnotic. The staging brought a grace and visual comfort that rang loud and true.

All the supporting performances, including those of the ensemble, are painted to near perfection, and the period costumes shine bright.

The play begins and ends with children and a meal. Emile’s sons (remarkably played by Ethan and Aiden Ward) dance and sing “Dites-moi / Pourquoi / La vie est belle,” (Tell me why life is beautiful). It is followed by Nellie and Emile’s first meal together. At the end of the play, spoiler alert, we find Nellie singing the same song with the boys and Emile returns home and sits to eat with her and his sons. He tells Nellie: “Mangez (Eat), Nellie,” bringing the play full circle.

In 1949, New York Times theater critic Brooks Atkinson wrote of the opening of “South Pacific” on Broadway: "it is a tenderly beautiful idyll of genuine people inexplicably tossed together in a strange corner of the world." This is a perfect expression of the Mill Town Players production, which manages to make the World War 2 Pacific Theater feel resurrected into a modern marvel in their own strange corner of the world in Pelzer.

“South Pacific” runs through Aug. 10 at the Historic Pelzer Auditorium. Tickets here.

Cast

Nellie Forbush - Eliza Burdette

Emile De Becque - John Michael Cox

Bloody Mary - Monette Fowler

Lt. Cable - Cameron Woodson

Liat - Chelsea Marqueda

Luther Billis - Noah Thomas

Capt. Brackett - Dan Wilkie

Commander Harbison - Alex Robinson

Koa - Ethan Ward

Jerome - Aiden Ward

Stewpot/Ensemble - Joshua Beck

Professor/Ensemble - Ethan Rios

Lt. Buzz Adams/Ensemble - Jackson Caito

Quale/Ensemble - Cameron Wilkie

Mccaffrey/Ensemble - Nathaniel Smolen

Patrolman/Gi/Ensemble - Alex Ward

Marine/Ensemble - Nate Grant

Henry/Ensemble - Miguel Sumalinog

Genevieve/Ensemble - Waverly Esperanza

Dinah/Ensemble - Gigi Wain

Janet/Ensemble - Katie Jo Oliver

Sue/Ensemble - Allie Norton

Cora/Ensemble - Elizabeth Kinney

Pamela/Ensemble - Jillian Moore

Islander/Ensemble - Katelyn Wong,

Kelsey Wong, Kayla Wong

Band

Julie Florin - Piano

Greg Day - Bass

Carla Bigler - Violin

Kathy Perry - Viola

Kathy Peyton - Flute

Alan Nowell - Clarinet

Ethan Scruggs - Trumpet

Gavin Cunningham – Trombone

Directed by Mary Nickles

Musical Director - Julie A. Florin

Choreographer - Katie Stewart

Stage Manager - Cary Doyle

Asst. Stage Manager - Dana McElreath

Scenic Designer - Will Ragland

Scenic Artist - Abby Brown

Set construction/painting - Will Ragland, Abby Brown, Austin

Dowling, Cameron Woodson, Reece Brandt, Will Nickles, Mary

Nickles, Hannah Morton, Alan Russell, Zoe Yearby, Chloe

Korsedal, Bowie Baden, Todd A. Janssen

Lighting Designer - John King

Master Electrician - Tony Penna

Lighting Board Technician - Brooke Grayson

Costumes - Betsy Allardice, Jessica Johnson, Cyndi

Lohrmann, Kris Yon

Props Coordinator - Hannah Morton

Audio Engineer - Cory Rutledge

Sound Effects - Josef Wehunt

Stage Crew - Jay Bearden, Frances Brown

Dialect Coach - Jayce Tromsness