Some casting gems add a shine to ‘South Pacific’
Most people know exactly what to expect from a community theater production of “South Pacific”:
“An enthusiastic cast of amateurs.
“Some heartfelt, if not exactly world-class, renditions of great Rodgers and Hammerstein standards.
“A few performances that rise to the standard of the truly professional.
That, in a coconut shell, is exactly what we get in the Spokane Civic Theatre’s first musical of the season.
This show, directed by Yvonne A.K. Johnson, actually exceeds those expectations in a number of ways. The men’s chorus – one of the most difficult areas for any community theater to cast – is well-drilled, loaded with talent and far better than merely “enthusiastic.” Those fightin’ Seabees are vital to the success of any “South Pacific” production because they are responsible for the success of two of the most beloved numbers: “Bloody Mary” and “There Is Nothin’ Like a Dame.” Credit choreographers Troy Nickerson and Kathie Doyle-Lipe along with Johnson.
Also, we get two absolutely top-tier performances in the key supporting roles of Bloody Mary (Marianne McLaughlin) and Luther Billis (Jerry Sciarrio). These two seem born to these roles, and they have the talent to step comfortably into any production of this show, amateur or professional.
We also get a nice directorial accent – a troupe of eight skilled hula dancers providing true Polynesian grace and spirituality to the “Bali Hai” number.
On top of that, we get well-done performances in the lead roles, Nurse Nellie Forbush (Briane Green) and Emile deBecque (Michael J. Muzatko).
Green brings out the Little Rock hick in Nellie better than other Nellies I’ve seen – she’s all twang and country girl enthusiasm – which strengthens the cross-cultural conflict with the French planter deBecque. It also strengthens the contrast within Nellie herself: Green plays her as a beautiful, charming young knockout, all the more endearing for her down-home simplicity of soul.
Muzatko nicely embodies deBecque, with his strong French accent and impeccable white double-breasted suit. Muzatko also has a strong, professionally trained voice, fully up to the task of delivering a satisfying “Some Enchanted Evening.”
As musical numbers go, it would be hard to beat McLaughlin’s “Bali Hai,” delivered in what I can describe only as her pitch-perfect, high-output alto. My only complaint here is one of staging: My attention was torn between the hula dancers and McLaughlin. I would have preferred McLaughlin to be closer to the dancers, so I could give them both the attention they deserved.
The set by Peter Hardie is an elaborate mix of gorgeous painted backdrops (one complete with a magical, shimmering waterfall effect), ingenious wing interiors and a working shower.
Still, I must confess to occasional bursts of irritation with this show. The first act, especially, was vocally weak (exceptions noted above). My expectations of the Civic are so high – it is one of the best community theaters in the country – that I sometimes forget that it is a community theater. It’s probably not fair to hold it to the same standards, especially musical standards, as a professional theater.
By the second act, I was in a more forgiving mood, especially because the acting performances and the overall ensemble (men and women) were so winning. This is a community theater production of “South Pacific” – and more.