An “Enchanted Evening:” Gateway Playhouse’s “South Pacific” Gives the Theatre (of War) its Due

by Don Toal Jr.

“You’ve got to be carefully taught.”

That line, sung briskly by Lt. Joseph Cable, a model military man haunted and hobbled by his own learned prejudices, is a biting statement on racism and intolerance that is just as relevant now as it was in 1949 when Richard Rodgers and Oscar Hammerstein II penned it as part of their landmark musical, “South Pacific.”  While the show was groundbreaking for many reasons both musically and culturally, it was this song in particular that was the most contentious part of its early history.  James A. Michener, author of 1947’s Tales of the South Pacific (the original source material for the musical), wrote in his memoirs that during a New Haven tryout of the show, he was contacted by multiple delegates urging him (and R&H) to cut the song from the performance.  When he shared this feedback with Hammerstein, Oscar laughed aloud and said “That’s what the show is about!”

And that message is largely translated faithfully in the Gateway Playhouse’s current production, staged as part of their 2025 Main Stage season.  Director Philip Pallitto and Assistant Director Chip Garrison construct a tale that walks the line between the duty (and heavy costs) of wartime, and the flawed but relatable human beings that are called upon to serve in it.  As with R&H’s original intent, the themes of prejudice as a learned bias, which lurks under the surface in unexpected places, are also given strong focus.

A reviewer’s note before we proceed: this production does have several roles split in casting.  The performers mentioned here perform on 5/30, 6/1, and 6/7, but others–Allison McGinley as Nellie Forbush, Steve Ciapanna as Emile DeBecque, Rita Caporilli as Liat, Eric Williams as Luther Billis, and Sawyer Lilley as Lt. Joe Cable–perform on 5/31, 6/6 and 6/8.  These performances were not seen as part of this review, but I am sure they also deserve to be experienced and appreciated as this cast was.

From the first glimpses of Technical Director/Set Designer Peter Avagliano’s spacious and textured set design, the show’s far-off island locale is cleanly conveyed.  Well-worn wooden army crates blend with Christina Avagliano’s beautifully designed backdrop and deep purple light washes to make a picturesque vista, but one that is also isolated and carrying an air of mystery about it.  Construction/Cosmetic Design Crew Avagliano and Melanie Schroer, along with Assistant Technical Director Jason Spatz and Stage Manager Janelle Hawkes, ensured that the playing space for the cast was not only lived-in and brimming with natural elements, but also practical and seamless for many transitions.  This is especially important for a R&H show, whose densely packed songlists and large set pieces can often cause runtimes to balloon wildly if not carefully managed.  (This reviewer still vividly recalls a high school production of South Pacific staged many, many years ago, where the runtime easily exceeded four hours!!)

Luckily, Music Director Debbie Roland keeps the tempos brisk and lively, while giving ample room for leisurely romance where the scene requires it.  Vocals from much of the cast are perfectly slotted into that classical style which defines the era, with good technique and strong emotion supporting those notes.  The small but incredibly capable band heard from the tech booth above – consisting of Roland on Piano, Adrian Padyhag on Percussion, Josh Tostevin on Woodwinds, Robert Roland on Bass, and Dave Seals on Trumpet – matches the singers beat for beat, both in speed, volume and style.  The resulting sound is a sweeping, emotionally resonant blend of music that carries the audience through its world.  Karen Cleighton’s choreography hits all the right marks along with it, keeping formations fresh and continually on the move, and giving the performers ample opportunities to play when they choose to run with it.  This is most effective during the campy “Honey Bun,” a number which brings the full chorus out for a gleefully gender swapped romp, which was a vocal favorite of the audience in attendance.  

The rest of the technical elements all complement the production team’s vision effectively.  Costume Designer Julie Jackson and Seamstress/Costumes Crew Karen Sutherland provide a clear contrast between characters, using strong color palettes to great effect.  From the drab beiges of military uniforms to the vibrant palettes of the nurses’ casual wear, all pieces indicate a clear station and personality, and fit well to the individual performer.  Lighting looks provide a good natural ambiance befitting an island retreat, and moments where all the stops need to be pulled out -- such as the hypnotizing, almost psychedelic pull of Bali Ha’i – are executed with pizzazz and pops of brilliant color.   Sound Engineer Mike Kropinack and Assistant Reegan Liberatore ensure levels are mixed smoothly and evenly, with only a few of the radio transmissions needing a little polish and TLC to deliver crucial exposition clearly.

The two romantic pairings which form the core of “South Pacific” require care and attention to detail on the part of the performers to deliver those narrative arcs effectively.  Rachel Burghen’s Nellie Forbush is every bit the “Cock-Eyed Optimist,” portraying sincerity and a softness that is endearing to both her costars and the audience.  Her soprano is clear and sweet, and the emotional warmth she shares with Emilie DeBecque is very effective.  Her shock and confusion when she discovers the mixed-race heritage of Emile’s children, forcing her to confront her own prejudices head-on, is a scene dripping with internal conflict made painfully external, portrayed with raw emotion by both performers.  As the French expat Emile DeBecque, Cormac Morrissey is quite charismatic.  He displays a gentleness and strength of character that is subtle but instantly disarming, and his capable and composed baritone gives his solos a charm and smoothness that complements Nellie’s voice beautifully as well.  His values are perfectly displayed during his scene with the commanding officers, where his outburst of “I know what you are against, but what are you for?” is steeped in conviction and nuance.  Christian Hornig-Fineran gives Lt. Cable a youthful overconfidence and quiet intensity that pits well against his scene partners.  His performance of “You’ve Got to Be Carefully Taught” is steeped in bitter urgency and crisp diction, giving the song the teeth it needs.  The breadth of his range is contrasted nicely by “Younger Than Springtime,” a sweet and languid ballad that effortlessly expresses his fall for the island beauty Liat.  Scarlett Romano brings an expressiveness and graceful poise to Liat that helps to convey meaning without words, making her chemistry with Cable believable and organic.

As the enterprising SeaBee Luther Billis, Ian Brady is a scene-stealer on multiple occasions throughout the show.  His wheeling-and-dealing persona is complemented by the softer sides of his character nicely, creating a three-dimensional huckster with a heart of gold.  He is clearly in his element when riffing off of his costars and organizing their shenanigans.  Scott Friedman makes the most of his scenes as George “Stewpot” Watts, making for a lovable sidekick with some of his own delightful punchlines, that plays off of Brady very well.  Gary Poetsch’s Capt. George “Ironbelly” Brackett has an excellent command of both the character’s severe authority and lighter levity, striking a solid balance that prevents one trait from ever overshadowing the other.  His scenes with Cmdr. William Harbison, as played by Rich McMahon, are great fun to watch, as the two actors commit equally to the stakes of the given moment, be it comic or serious.  This ensures that the theatre of war going on in the background of the island–and imminent to show up on their doorstep–has an appropriate amount of weight when it finally hits home.  Chikita Wallace, as the native woman Bloody Mary, provides “Bali Ha’i” (an iconic song in a show chock full of them) the appropriate amount of gravitas with her well-supported and smoothly flowing vocals.  Her character’s quick wit earns some hearty laughs from the audience, as well.

As Ngana and Jerome, Emile’s young children, Arcadia Peña and Indy Blu Birmingham are the picture perfect scamps, delivering the opening ditty “Dites - Moi” with joy and precision. Tom Dalton and Joe Slane provide moments of humble humor and steadfast patience as Lt. Buzz Adams and Yeoman Herbert Quale, respectively.  The brash quintet of Seabees (consisting of Dalton, Yullian Pereira, Sawyer Lilley, Eric Williams, and Isaiah Wilkins) inject a much-needed booster shot of animated swagger and glee into their scenes, singing and dancing boldly and bravely through each number and adding some great moments of background antics.  And the chorus of Nurses, including Judi Forman, Eloise Leupold, Lisa Weck, Jamie Weinberg, Rebekah Tanis, and Shannon Colligan, round out the cast with their own individual and collective moments of personality, such as the fun towel-ography of the classic “I’m Gonna Wash That Man Right Outa My Hair.”  Each member of the company has clearly established their own unique character, with scene choices to match, making the world feel fully inhabited and fleshed-out.   

Which is why this next topic is somewhat more difficult to write, but the honest truth of it needs to be said.  It is this reviewer’s opinion, as well as that of SJTC, that while no performer should be unfairly criticized for being cast against “type,” whether that be age, body type, gender, physical disability, etc., the concept of ethnicity is a different matter, specifically where a show like this is concerned.  For all of the efforts the production team of “South Pacific” has put into cultivating as much authenticity as possible., the decision to cast white actors as POC characters undermines their hard work, as well as the message of tolerance at the core of the material. Said material is, obviously, dated and a product of its time, with plenty of its own cultural baggage to unpack. While that doesn’t mean shows like this shouldn’t be performed, it does mean those productions need to exercise additional care with regards to casting culturally sensitive roles.  If a theatre company does not have the casting pool to perform these roles authentically, they should consider whether that show is an appropriate fit for their season.  At the end of the day, one of the central messages of this show is tolerance and unlearning prejudice.  To focus on that while not casting roles appropriately blunts the impact of that message. 

That singular note being addressed, it should be sincerely stated that the Gateway Playhouse is otherwise putting in the work to grow its audience and the overall quality of its Main Stage seasons from one show to the next.  It has been gratifying to watch this little theatre by the beach develop and reinvent itself over the years.  On the whole, their production of “South Pacific” is a faithful interpretation of a musical theatre benchmark, full of humanity and empathy, and deserves to be shared, explored, and most importantly, learned from. "South Pacific" runs now through June 8, you can purchase tickets here: http://gatewaybythebay.org/UpcomingShows.cfm