Download Review The York Press: South Pacific, York Light, York Theatre

Review The York Press: South Pacific, York Light,
York Theatre Royal, until March 14
Rachael Wilkinson and Richard Blackburn
by Charles Hutchinson
MARTYN Knight's musical will have its place in York Theatre Royal's history as the
last full-scale production before work starts on the £4.1 million redevelopment of the
theatre. Fittingly, it goes out on a Bali Hai note.
As chance would have it, it is also the second show in a row at the Theatre Royal
where you will hear There Is Nothin' Like A Dame, after Dame Berwick Kaler's grand
entry to the Rodgers and Hammerstein number at each pantomime performance.
South Pacific is packed with familiar show-stoppers, from Some Enchanted Evening
to Happy Talk and it is for this reason that the show abides when the racism within
the storyline makes it a "problem" play in the manner of Shakespeare's The
Merchant Of Venice.
You can't hide from the prevailing attitudes in the piece: whereas the songs are
"timeless", you hope the racism in the sardonic You've Got To Be Carefully Taught is
not, although it has become a hot topic again with the rise in anti-Semitism in Britain
and Europe and the taunting behaviour of a group of Chelsea fans on the Paris
Metro.
In such circumstances, you have to play the story and its frank questions around the
subject of race and appearance honestly and truthfully, and that is what
director/choreographer Martyn Knight, lead actress Rachael Wilkinson's Ensign
Nellie Forbush and Scott Concalves' Lieutenant Joseph Cable all do.
Based on James A Michener’s novel Tales Of The South Pacific, the story is set in
and around an American military base on a New Hebridean island during the Second
World War.
Wilkinson's Ensign Nellie Forbush, a nurse who has fallen in love with Richard
Blackburn's French planter Emile de Becque, has serious reservations about his two
Eurasian children, while Lt Joseph Cable (a role shared by Concalves and Christian
Mortimer) wonders how he can take an oriental wife home to the United States.
Rodgers and Hammerstein confront these problems in a measured manner, tactfully
and not with a heavy hand, in a musical that has its serious undertow but is suffused
with humour too.
Wilkinson and Blackburn make for romantic leads, dealing with the complexities of
an adult relationship between lovers of different ages and cultures (Emile killed a
man in his younger days) and both are in tremendous voice.
Wilkinson's rendition of Honey Bun is the show's best number while Blackburn's
baritone graces both Some Enchanted Evening and in particular the fiery This Nearly
Was Mine.
Knight's ensemble choreography is fabulous, whether for the swaggering Seabees of
the US Navy having great fun with There Is Nothin' Like A Dame or the ladies chorus
having a riot in beachwear with I'm Gonna Wash That Man Right Outa My Hair.
Not for the first time, Rosy Rowley steals scenes aplenty on a York stage, this time in
the boldly comic part of Bloody Mary, while Concalves impresses as Cable and
Richard Hawley grows into his role as Luther Billis.
Praise too for Phil Redding's 14-piece orchestra, whose playing is as hot as the
island setting.
SOUTH PACIFIC review by
On:Yorkshire Magazine
SOUTH PACIFIC
Review
York Theatre Royal
by Jen Grimble
Since its Broadway debut in 1949, South Pacific has been entertaining theatre-goers on both sides of the
Atlantic. Now, almost 70-years later, York Light presents a reworking of the Tony Award winning musical, but can
this enduring tale secure modern fans?
The original production, based on the Pulitzer Prize-winning novel Tales of the South Pacific, was composed by
the pioneers of golden-age theatre, Rodgers and Hammerstein. The pair, who brought us The King and I,
combined several of the books’ interlocking stories, to create an upbeat show that integrated key social issues,
making it economically viable and morally explicit.
This notion is continued by York Light, in their contemporary but sympathetic adaptation. We are transported to a
military camp on a remote pacific island during World War I; the set is artistic but simple, placing the audience in
paradise with just the positioning of palms, the lighting of a beautiful moon and the soft sounds of lapping waves.
This South Pacific features a complimentary ensemble cast, with performers of all ages, and focuses on two main
love stories. The first, of American nurse Ensign Nellie Forbush (Rachael Wilkinson), and expat Frenchman,
Emile de Becque (Richard Blackburn), whose illegitimate Polynesian children (played gorgeously in this
performance by Daisy Wallace and Reuben Lalley) could end their affair. The second is the blossoming romance
between Lieutenant Joseph Cable (Scott Goncalves/Christian Mortimer) and Tonkinese islander, Liat (Maisie
Poskitt). Struggling with racial prejudices and conflicted emotions, Nellie decides to wash-that-man-right-outtaher-hair, as the song rings brightly through the theatre; while Joseph escapes with Emile on a dangerous mission
that could either end their lives, or help the Americans defeat the Japanese.
Woven between these two key stories are moments of joviality, with the Thanksgiving Pageant providing a
highlight of the production, as Luther Billis (Richard Hawley) dances in his coconut bra to “Honey Bun”. Likewise,
Rosy Rowley’s portrayal of Bloody Mary brings much warmth and laughter to the viewers, while Goncalves as
Lieutenant Cable conveys sentimentality in every scene. Richard Blackmore could be the true star here however.
His Emile de Becque is a fine, accurate depiction, as his rich French accent flows into his gorgeous harmonies,
stealing many a lime-light.
This adaptation excels in its moments of slowed-down
simplicity. When one character is pondering their
emotions through song; or Bloody Mary and Liat are
softly swaying to “Happy Talk,” reawaking in the
audience a sense of nostalgic pleasure. The score,
performed by Philip Redding and his orchestra, combines
the catchy aforementioned classics with timeless showpieces “Bali Ha’i” (sung wonderfully by Rowley), and
“There’s Nothing Like a Dame,” in which the male cast
create a strong vocal chorus. Redding leads his army of talented musicians to a fitting enactment, which
compliments scenes and also establishes the atmosphere of the island itself. The music is what makes this show
so affective. Though set during a time of cultural divides and looming violence, this production has a light heart
and an iconic musical zest, which by no means undermines the severity, or the authenticity of the history it is
telling.
For a musical that has enthralled post-war audiences for decades, South Pacific proves itself to be a worthy
subject for revisiting, as it succeeds in securing fans on a contemporary level. Director Martyn Knight gathers a
cast of eclectic performers, who plausibly bring to life this timeless War-Time story. York Light has created a
reimagined and subtle adaptation that fills the room with unforgettable songs of days-gone-by, allowing both longtime fans and first-time viewers of South Pacific, to leave the theatre feeling content.
Review York Mix: South Pacific
by York Light, Theatre Royal
A great love story… South Pacific
I first came across York Light back in 2013 when I reviewed their production of Oliver
and was really impressed by this extremely talented bunch of local amateur
performers. I was delighted to have the opportunity to review their latest
production, South Pacific.
I grew up on the great Rodgers & Hammerstein musicals; yet somehow never saw
this one. That said, it’s surprising how many of the songs I recognised.
My friend knew the story, I didn’t. Both of us had a thoroughly enjoyable evening.
As usual with this company the sets were cleverly thought out and the costumes well
made and perfect. I particularly liked Nellie’s blue dress and her white statue of
liberty costume.
Considering the story is set on two islands in the South Pacific I have to say York
Light did an excellent job with their sets. I was rather pleased that the large amount
of flesh on show was actually tanned, that said I was also rather envious of how
toned some of it was as well!
A huge part of my enjoyment of the show was the amazing Rosy Rowley who
strolled onto the stage as Bloody Mary and had the audience laughing with her for
the rest of the show. She was hilarious, very well played and a great character.
For most of the first half of the show I couldn’t stop thinking that Emile de Becque,
played by Richard Blackburn, looked an awful lot like Peter Andre rather than the
middle aged Frenchman he was portraying.
His voice however soon won me over; he has a strong and deep voice that is
mesmerising. I found myself rooting for his character in the second half.
Rachael Wilkinson who portrayed Nellie Forbush has a beautiful voice, and looked
stunning in several of her outfits. She managed to portray humour, show off her
dancing skills and even rock a swimsuit at one point.
Hats off to the cast
A lot of fun
Richard Hawley played Luther Billis, the wide boy of the Navy, and whilst most of his
performance was fun, the scene at the Thanksgiving Show had us all howling with laughter.
His portrayal of Honey Bun will stay with me.
I’ll never look at a grass skirt in the same way again.
This show is a typical Rodgers and Hammerstein production, great songs, dancing,
humour, a love story – everything you could wish for. York Light put on an excellent
performance as always.
The audience covered a range of ages and this is a show that you could take your
children to just as easily as your granny. There’s something in it for everyone,
including some adult humour that will go straight over the children’s heads.
The performance runs until March 14 when the Theatre Royal will close for a multi
million pound refit. I think this was certainly the right performance to end the current
era with.
The finale is a showcase of the songs from the show sung by the whole cast, and for
me this is where the talents of York Light really come to the forefront. They have
such a beautiful and complimentary blend of voices.
They may be an amateur company, but there certainly wasn’t anything amateur
about the performance they put on for us tonight.
Whether you’re a fan of the story already or, like me, new to it this is a show that will
certainly entertain you and you’ll leave the theatre with a very warm feeling on a cold
wintry night.
By Helen Stothard