South Pacific (1988)
South Pacific gave new meaning to the word 'brilliant' in Wesley College's long history of excellence in musical productions. The exuberant and delightful display of the cast mesmerised a sell-out audience, as again students emerged from beneath study and text books to display their talents. There was an aura of enormous expectation in Adamson Hall as all our wildest dreams came alive in a spectacular and vibrant performance on stage. Indeed, those fortunates who saw South Pacific went home with a sense of joy, as well as a sense of awareness, being broadened and enriched by the underlying tenor of a magnificent production.
When Rogers and Hammerstein first released South Pacific in 1949, it was a courageous step to compose a production dealing with inter-racial romance. However, the musical is not so much a ”message”, but more a point of view, expressed with tenacity in the lyric, ”You've got to be carefully taught” — to dislike and fear another man's complexion. When Nellie Forbush, the naive Antonsa's nurse, discovers that Emile's children's mother was Polynesian, she is embarrassed and shocked. When South Pacific was released, it would have been considered a normal reaction of an American country girl. The mastery of lyric and song, however, fulfils a two-fold purpose — they not only make Nellie admit she is wrong, but, more importantly, persuade the audience to comprehend and think likewise. In doing this, a poignant statement and dramatic feat is achieved. Perhaps best of all, Rogers and Hammerstein's point of view is of universal consequence and is of as much meaning and relevance to us now, as it was in 1949, despite much social development and change. Some can still benefit from such an education today. It was an imposing task to attempt such a sophisticated roduction and yet its enormous success merely augments the dedication, hard work and, above all, ommitment by all involved.
As great as any composers are, their wishes can only come alive with a superlative cast, who accentuate the musical's style and success with enormous vitality. Peter Grierson, as Emile de Becque, played the role with all the sensitivity and charismatic charm of a Frenchman, while Kate Forster and Kathy Rekaris, who alternated in the role of Ensign Nellie Forbush, each gave the role their different and very special interpretations, while Nellie's essential statement of innocence and vulnerability remained intact, Georgia Rekaris, as Bloody Mary, Lachie Hulme, as Luther Billis, and David Manne, as Captain George Bracket, each provided an uplifting and humorous element to an otherwise sombre theme in each of their hilarious and memorably portrayed scenes. Daniel Schlusser as Joe Cable brought enormous presence to the stage, as the young lieutenant who is bewitched by the spell of mysterious Bali Hai, and falls in love with islander Liat, played by Chei-Wei Chen.
Sweta Ghelani, as Bloody Mary's assistant, vibrantly bantered with sailors Professor (Tim Robertson), Stewpot (Scott Grierson) and Adams (David Franzke), who all sought skillfully to bargain themselves into a crafty deal, while Steven Schiller as Commander William Harbison was frighteningly officious, as he terrorised his underlings with ruthless abandon. Most importantly, the chorus gave splendid support to the actors and soloists, adding to the realism and excitement of the performance. Amidst the severe undertones, such numbers as ”Bloody Mary”, ”There is Nothing like a Dame”, ”Younger than Springtime” and, of course, the immortal classic, ”Some Enchanted Evening”, provided rivetting, exuberant and entertaining experiences for all who crowded into Adamson Hall.
South Pacific had a splendid and overwhelming visual impact, as beautiful and realistic sets provided a delightful backdrop to the action of the stage. From the subdued elegance of Emile's plantation and austere efficiency of the Island Headquarters, to the mysterious serenity of tropical Bali Hai, one felt beckoned to enter, to step on to the stage and be in the South Pacific islands for all its enchanting realism. Thanks go to Mr. Tony Scanlon for set design, assisted by Mr. Anthony Bowman (O.W.) and staff member Ms. Dianne Tweedie, who, with a team of set constructors, devoted much of their Easter vacation to achieve the impressive final result. Authentic and beautiful costumes by Mrs. Margaret Hilditch and Mrs. Stephanie Des Barres, professionally dressed the cast; Miss Jacqui Bond's original choreography was executed with enormous precision under her supervision, while Mr. John Lee's weal the of musical talent guided the orchestra, providing a sturdy musical backbone to the production, assisted by Ms. Wendy Todd and Kath McGrath on piano at rehearsals.
Naturally, a volume of work occurred backstage, which was like a hive of professionals sharing their skill and talent. David Wells, Jonathon Findlay, Michael Davies and Jamie Clark lent expertise to lighting, while Braden Betley, Warren Vine and Susan Grierson co - ordinated sound. Properties were carefully supervised by Caroline Gaylard, Leonara Bor and Olivia Chant, while technical direction was under taken by Mr. Kim Forward and Mr. Sabino Del Balso, with stage managing by Mr. Daryl Forde and Mr. Lloyd Cook. Zoe Wishart assisted the directors, as did a score of painters, set builders and make - up artists. Thanks too , to Mr. Tony Winder who, as business director, handled the box office and front - of - house crew.
South Pacific could not have occurred without the supreme professionalism and energy of directors, Mr, Dawson Hann and Mr. Tony Scanlon, under whose expertise and experience, ” South Pacific” became an exhilarating production, which has left its mark on the audience, cast, crew and College.
