BWW Reviews: SOUTH PACIFIC at Georgetown Palace is Some Enchanted Evening

Early on in South Pacific, our heroine, Nellie Forbush describes herself as a "cockeyed optimist." I feel the same label could be given to every member of Georgetown Palace's cast and crew. South Pacific is one of Rodgers & Hammerstein's most beloved but problematic shows. Set on various pacific islands during World War II, the show brings up plenty of negative themes: war, racism, copious amounts of racial stereotypes (more on Bloody Mary later), and while this production touches on all of those themes, they brilliantly focus on another more universal theme. Love is the true center of this show, and that's what takes center stage, turning this production of South Pacific into a modern fairy tale.

Granted, no fairy tale has a racist nurse from Little Rock as its focal point, but despite the character's obvious faults, Austin theater newcomer Christine Jean-Jacques brings the character of Nellie Forbush to vivid life. Yes, Nellie is perhaps the most flawed of Rodgers & Hammerstein's heroines, but with Jean-Jacques portraying her, you can't help but love this little hick. Her beliefs may be hard to swallow, but Jean-Jacuqes's Disney princess-like singing voice and athletic dancing abilities make her absolutely infectious.

As Nellie's love interest, Emile de Becque, Bob Beare is just as engaging. His singing is impressive and operatic (fitting as Emile is often played by classically trained performers), and though the character is meant to be a bit more sturdy, stern, and mysterious, Beare is able to throw in a bit of wit and fun here and there.

Michelle Hache gets the problematic role of Bloody Mary, and though there really is no way to cover up the groan-worthy racial stereotypes surrounding the character ("Happy Talk," which I'm sure was cute and sweet back in the 1950s, now elicits winces due to the broken English lyrics), her voice and stage presence are astonishing. And as the handsome Lt. Cable, Ismael Soto proves to be a capable young actor. His voice is strong and sounds like John Raitt, AlfrEd Drake, and some of the other greats from the Golden Age of Broadway, and his acting is nuanced, especially in the heartbreaking moment where he recognizes how his family and upbringing will force him to let go of the one he loves. As the principles are coupled with an energetic and likable ensemble, this cast is an absolute dream.

Though there are inherent problems with pairing down a lush, exuberant Rodgers and Hammerstein score from a 40 piece orchestra to a 8 piece band, Georgetown's musical ensemble, led by Lannes Hilboldt, provides a breezy, effortless sound to the evening. While it would be nice to hear the full orchestrations, the paired down band sounds just fine, and their sound fits well with the overall look and feel of the show.

In director Ron Watson's hands, South Pacific doesn't feel like an epic, old dinosaur of a musical. It feels fresh and current, and the focus on the main characters and the blossoming love between them works to the production's advantage. Watson's unpretentious approach is echoed by the rest of the creative team. Barb Jernigan's set is stunning but modest and uncluttered, allowing the Palace's intimate stage feel larger and expansive, Dylan Rocamora's lighting creates a colorful, lush, and tropical world, and Jesee Smart's choreography is impressive, fun, and integrated seamlessly into the actions and characters.

With a flawless cast and a brilliant creative team, Georgetown Palace's South Pacific is as enjoyable as a walk on the beach.

Run time: Approximately 2 hours and 45 minutes, including one 20 minute intermission

SOUTH PACIFIC plays The Georgetown Palace now thru March 24^th. Performances are Fridays and Saturdays at 7:30pm with additional performances on Saturdays and Sundays at 2:00pm. Tickets are $24 general, $22 seniors, $14 students and active military, and $10 children 12 or younger.

For tickets and more information, please visit www.georgetownpalace.com