Theatre Review: ‘South Pacific’ at Gateway Playhouse, Patchogue Theater
BY KIRSTEN WEYER

Bali Ha’i will call you to Patchogue for Gateway Playhouse’s production of South Pacific. This Rodgers & Hammerstein classic is based on the Pulitzer Prize winning novel “Tales of the South Pacific” by James Michener. Winning 10 Tony Awards for its original production, South Pacific has since become one of the best loved musicals of all time. The Gateway’s production has done a fantastic job of honoring not only this universal favorite, but also the men and women on whom it is based. A free ticket to South Pacific is available to all World War II veterans. In addition, a slideshow of WWII pictures from local veterans and their families makes for a touching tribute during the soaring overture.

For those few who may not be familiar with the premise of South Pacific, it is fairly self-explanatory. Set in the Polynesian islands of the South Pacific Ocean during WWII, it follows the lives, loves and interactions of the natives and the Americans stationed there. The lead of French transplant Emlie de Beque is played by Gateway and Broadway veteran, Christopher Carl. Carl’s deep, rich voice and impeccable accent make for an incredible production. His unforgettable performances of “Some Enchanted Evening”, and “This Nearly Was Mine” are breathtaking. With perfect posture, accent and dress he brings to mind that classic French gentleman, Maurice Chevalier. Playing opposite Carl, is Julia Burrows as Ensign Nellie Forbush. Her bubbly, effervescent character is immediately likeable, portrayed with a lovely soprano and flawless southern accent. Together, their believable chemistry makes you root for the couple from the opening scene.

The entire cast was wonderful. From the deliciously dirty Bloody Mary, played with aplomb by Jodi Kimura, to the children’s roles of Ngana and Jerome, performed by Keira Ballan and Giovanni Verdi. Ngana and Jerome are also played by Grace Lovell and Nicholas Palermo. Handsome Lt. Joseph Cable is more than ably performed by Brandon Andrus, while his Tonkanese love interest Liat is played by the stunning Tiffany Toh. Andrew Foote makes an incredibly funny Luther Billis, and his cronies Stewpot (Brian Ray Norris), and Professor (Kevin Gutches) provide much entertainment. Michael Sean McGuinness and Jason Law play the much put upon leadership of Capt. George Brackett and Cmdr. William Harbison, respectively. All of the cast and ensemble produced a wonderful performance with strong, clear voices and splendid harmonies.

Director and Choreographer Keith Andrews should be commended on a superb production. Aided by authentic costuming from Costume World, and Scenic Designer Terrant R. Smith’s effective set, this show sucks you in and doesn’t let go until the final curtain. As if this wasn’t enough to convince you to go, the musicians under direction from conductor Jeff Hoffman are incredible. This eight person orchestra produces sounds of such exquisite caliber as to make one believe there must be twice their number. What more is there to say? South Pacific certainly produces some enchanted evening.

Read the original article at: http://nytheatreguide.com/2014/07/theatre-review-south-pacific-at-gateway-playhouse-patchogue-theater

'South Pacific' review
BY STEVE PARKS

'South Pacific" has enjoyed a renaissance since its smashing 2008 Lincoln Center Theater revival. And now the Gateway brings the musical inspired by James Michener's novel to heightened relevance and renewed vigor.

As you take your seats at the Patchogue Theatre, you'll notice a scrim on which a passage from "Tales of the South Pacific" is projected. Jeff Hoffman's bigger-than-its-numbers eight-piece orchestra launches into the five-minute overture while the screen scrolls into a photo album displaying many of the nearly 200 snapshots submitted by families of World War II veterans and a few of the survivors themselves.

While "South Pacific" boasts the lush Richard Rodgers-Oscar Hammerstein score, it can get bogged down by military exposition. The Polynesian island where a naval company, including nurses, is stationed becomes a launching point for a reconnaissance mission that may turn the war against the Japanese. But the key to the mission's success is a romance between Ensign Nellie Forbush, a cheerful hick with a winning voice (Julia Burrows), and a fugitive Frenchman, Emile de Becque, a mature but entirely plausible "Wonderful Guy" (Christopher Carl). Trouble is, Emile was once married to a Polynesian woman, by whom he now has two bronze-tinged children. When Nellie utters "colored" in her contemptuous way, we know the romance is off. (This time she really means to wash that man right outta her hair.) Jilted, Emile is free to risk his life espying Japanese naval maneuvers. He's joined by Lt. Cable (Brandon Andrus), himself involved in an interracial romance (lovely Liat played by Tiffany Toh). Her mother, Bloody Mary, a comic hustler with attitude (Jodi Kimura), hopes for an arranged marriage on mystical Bali H'ai, a painterly centerpiece on Terrant Smith's versatile set.

Before Nellie can arrange a transfer, she produces a Thanksgiving revue ending in "Honey Bun," starring mischief-making Seabee Luther Billis (Andrew Foote). "Honey Bun" is reprised in stark marching-off-to-war contrast in a brilliant piece of stagecraft by director Keith Andrews (dramatic lighting by Doug Harry). Carl's treatment of "Some Enchanted Evening" undergoes a transformation as well. It first ends in lilting falsetto: "Never let her go." But when she's gone, the refrain becomes powerfully emotive.

War is hell. But love? Oh, well.

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Lovely, fun cavorting and an important message in “South Pacific”
BY LINDA LEUZZI

World War II was a scary, patriotic, spiritual time and much of the emotional outfall, the portending of death, relief at being alive another day, moments of simple joys, boredom, waiting for orders, and longing for love are addressed in The Gateway’s beautiful production of “South Pacific.” But mostly, in this time-honored musical, Rodgers and Hammerstein set out to portray the harm racism can wreak.

Based on James Michener’s “Tales of the South Pacific,” the show premiered on Broadway in 1949, won 10 Tony Awards then a Pulitzer Prize for Drama in 1950.

Emile de Beque, played by Christopher Carl, a French expatriate plantation owner who lives on an island now occupied by Seabees in the South Pacific, and commissioned officer and naval nurse Nellie Forbush evolve with their hesitancy and thunderbolts. Early in the show, “Some Enchanted Evening” is launched beautifully by Emile, who declares his yearning heart for Nellie, and the romance officially begins. Carl plays Emile with an innate compassion, affection, playfulness and his singing, particularly, “This Nearly was Mine,” was riveting in its transcendence.

What makes this musical so lovely is the humor and humanity of its characters. Andrew Foote’s Seabee, Luther Billis, is a knockout. This knight in rusty armor is a likeable schemer and chaste admirer of Nellie’s and avoids making moves. He does, however, agree to star in the Thanksgiving Follies for Nellie, the unit’s cheer-up show, and swings his coconut-shell falsies with abandon in “Honey Bun.” He’s an undulating, burlesque wonder with blonde wig, lipstick and grass skirt. And oh, the lusty playfulness and frank cavorting when the cast has a field day with “There is Nothing Like a Dame” that includes that famous basso profundo note. Bloody Mary, played by Jodi Kimura, is superb as the earthy, bawdy, feisty Tongan woman, who makes her living selling shrunken heads and grass skirts. She also has a beautiful daughter, Liat, who she declares, out of all the sailors she’s seen, is perfect for Lieutenant Joe Cable. Brandon Andrus plays the handsome, cynical officer, a Princeton alum and Philadelphia upper-cruster with a particularly intelligent approach and fine voice. As his vulnerability emerges, he falls in love with Liat, but wrestles with his feelings and fear of rejection from his family.

Julia Burrow’s Nellie, who hails from Little Rock, Ark., yearns to break away from her hometown’s narrow-minded confines and the famous “I’m Gonna Wash That Man Right Outa My Hair” is a terrific, girly celebration with the nurses, a fun scene. Her elation in her love and then horrified reaction about Emile’s relationship with a Polynesian woman, “a colored,” hits hard.

A word about the details. While Lincoln Center’s revival of “South Pacific” in 2008 was acclaimed, it didn’t begin its overture with a photo montage of locals who fought World War II, whether it was the South Pacific, Okinawa, Normandy, the Battle of the Bulge or other battles. But The Gateway did; over 100 images came in via emails and personal deliveries within three days of their call and there were some lovely stories that emerged from that effort. There’s also a typed narration, Michener’s words, on the screen before the overture began. “I wish I could tell you about the South Pacific,” it begins, “the way it actually was,” a nice time-traveler touch.

Director Keith Andrews said it was a unanimous choice to use the photos to connect with the community. “It made you realize these were real people,” said Andrews, who read the entire “Tales of the South Pacific” to get a sense of the characters, some based on actual people Michener met. “During the Lincoln Center revival, they went back to the original script and they did it on the tour. I looked at some things and added what I thought was poignant. With Lt. Joe Cable, I wanted to know what separates him, what makes him different from all the other sailors Bloody Mary has seen and why she wants her daughter to marry him. I also wanted to bring out the humor a little more in the show, especially when you get to the point. To put this big message of race a couple of years after the war was so brave.”

The entire cast gets the 1940s era and, quite simply, rocks it. Carl was the standby to Paulo Szot’s Emile de Beque role in Lincoln Center’s revival, then played in the national tour as did Kimura (Bloody Mary). Foote (Luther Billis) has done national tours with “Ragtime” and “Les Misérables,” Andrus (Lt. Joe Cable) has starred in the national tour of “Jersey Boys and “Oklahoma,” and Burrows (Nellie Forbush) played regionally in “Show Boat” and “The Music Man.”

Whether they were first-time Gateway performers or repeaters, the cast was totally believable, emulating the times, its spirit and delivery of the songs. And while it isn’t easy to coax out the thrilling poignancy and lush musical score of a Rodgers & Hammerstein show, musical director Jeff Hoffmann and the orchestra were on point. Echoes of “Some Enchanted Evening,” and “Honey Bun” drifted all the way to the parking lot afterwards.

Read the original article (login required) at: http://www.longislandadvance.net/articles/2014/07/31/Lovely-fun-cavorting-and-an-important-message-in-South-Pacific

Theater Review: Gateway’s ‘South Pacific’ Enchants in Patchogue
BY GENEVIEVE HORSBURGH

Rodgers and Hammerstein’s South Pacific has something for everyone: love stories to tug your heartstrings, the suspense of a nation at war, comedic relief to provoke some belly laughs and a musical score that might bring you to tears. Gateway has delivered another hit production this summer!

I was instantly enthralled with the story. The dramatic overture captures your attention and the actors draw you in with their warmth and vivacity. We are taken to an island in the South Pacific during World War II, occupied by the American military. There is a romance brewing between Ensign Nellie Forbush and French plantation owner Emile De Becque. Nellie is a self-proclaimed hick from Little Rock, Arkansas. Emile is a self-exiled former French officer, who fled his country decades ago.

We get an earful of Nellie’s background in the lilting song “A Cockeyed Optimist” and Julia Burrows is charming and likable as the love struck army nurse, her voice sweet and captivating. As the dashing Emile De Becque, Christopher Carl is enigmatic with a commanding stage presence and a baritone voice that is rich, smooth and intoxicating. In his solo “Some Enchanted Evening” we fall in love with Emile, along with Nellie.

On another part of the island, we meet Bloody Mary, the local woman selling eclectic souvenirs. Jody Kimura brings her character to life, inciting plenty of laughter at her one-liners and crazy antics. She is joined by the sailors, Seabees and marines stationed on the island, and a particularly cheeky sailor named Luther Billis, played by Andrew Foote. Billis leads the guys and Bloody Mary in “There’s Nothin’ Like a Dame,” a favorite of mine, because it is boisterous, fun, and raunchy. The harmony between the men is sensational, leaving no doubt that these guys can sing.

Enter Lt. Joseph Cable, a dashing young marine played by Brandon Andrus, sent to the island on an espionage mission for the American military. The unsuspecting officer is swept up in Bloody Mary’s mysterious song “Bali Ha’I,” and we are left to wonder why he is drawn to the island.

Nellie, doubting her love, decides that she’s going to end her romance, and leads the girls into the spirited performance “I’m Gonna Wash That Man Right Outa My Hair.” Emile walks in at the end of the song, invites Nellie to a party at his plantation in her honor, and the tune quickly changes to “I’m in Love with a Wonderful Guy.”

On the island of Bali Ha’I, Bloody Mary introduces Lt. Cable to her beautiful Tonkinese daughter, Liat. Cable and Liat fall in love at first sight, but because of her lineage, Cable will ultimately refuse her and turn his back on their love. In the heartbreaking song “Younger than Springtime,” we lose our hearts to the handsome, ill-fated lieutenant.

On the night of Emile’s party, Nellie’s blissful evening is brought to a halt when she discovers Emile has two children who are half-Polynesian. Having been brought up with prejudices back home in Arkansas, Nellie is unable to accept them, and flees Emile’s home.

Our two heartbroken heroes set out on the espionage mission together, Lt. Cable using Emile’s vast knowledge of the area to help gain information for the American military.

When Nellie learns that Emile has gone on a dangerous, life-threatening mission, she realizes nothing is more important than love. When we learn that Lt. Cable has perished, heavy silence ensued; the reality of war brought back to the forefront.

The cast does an excellent job of taking us along for this emotional ride; happy, sad or love-struck we live each moment. The musical genius of Rogers and Hammerstein is evident in how powerfully their music and lyrics affect us.

Read the original article at: http://danspapers.com/2014/07/theater-review-gateways-south-pacific-enchants/