South Pacific

"There are moments where music is so haunting, so absolutely pure, that it literally sends chills through one’s body. For me, “Bali Ha’i,” sung by Keala Settle, is one of those moments. The song -- dark, sensual, and dreamy -- is only one of the many gems in the performance of South Pacific, which I saw last Tuesday at the Golden Gate Theater in San Francisco. This production, directed by Bartlett Sher, is the first Broadway revival of the classic Rodgers and Hammerstein musical, and will run in San Francisco through October 25.

The story of South Pacific is simple enough. In the midst of World War II, a number of lost souls are gathered on a lonely island in the South Pacific, waiting – for orders, for a war, for peace, for freedom. Among them are Ensign Nellie Forbush, a nurse from Little Rock, Arkansas; Emile de Becque, a French plantation owner; Lt. Joseph Cable; and Bloody Mary, a native woman trying to make a living among the soldiers who have overtaken her island.

As is the case in musicals everywhere, romance blossoms. However, what makes South Pacific unique is its depiction of racism driving a wedge between the lovers.

Nellie Forbush, played with verve by Carmen Cusack, falls deeply in love with Emile de Becque (Rod Gilfrey), and is forgiving even when she learns that he fled France after killing a man – but she cannot stomach the idea that he was in a relationship with one of the native women, with whom he fathered two children. And Lt. Joe Cable, played by the silver-tongued Anderson Davis, is immediately enchanted by Liat (Sumie Maeda), the charming daughter of Bloody Mary (Keala Settle), but he cannot even begin to consider how he would go about introducing Liat to his mother back home in Philadelphia.

Rodgers and Hammerstein did not shy away from tackling the topic of racism when they first unveiled this musical in 1949, and this remarkable theme remains one of the most serious threads in the production today.

Bringing lightness to South Pacific are the ensemble pieces by the sailors, led by the indomitable Luther Billis (Matthew Saldivar), a goodhearted sailor hopelessly devoted to Nellie. Their songs, most notably “Bloody Mary” and “There is Nothin’ Like a Dame,” are show-stopping numbers that easily draw delight from the audience. Other gorgeous pieces include “Younger than Springtime,” sung by Lt. Cable, “Some Enchanted Evening," sung by Emile, and of course, “Bali Ha’i.”

The infectious energy of South Pacific is accented perfectly by the staging, flawlessly evokes the beauty and mysticism of the South Pacific. In short, Bartlett Sher has unearthed an excellent production, notable for the seriousness of the themes it tackles, the pure entertainment delivered by its musical numbers, and the cast which delivers a seductive South Pacific that you won’t want to leave."

Rent

"At precisely 8:00 on Wednesday night, a theatre crowded with Broadway aficionados went insane. Why? Because two people had just walked onstage. Who? Gandhi, perhaps? President Obama? Or even, dare I say, Santa Claus? No. No, no, and no. It was Adam Rapp, accompanied by Anthony Pascal, playing the parts they originated (Mark Cohen and Roger Davis, respectively) in the latest national tour of RENT. Accompanying them is the talented Gwen Stewart, who reprises her original role as the soloist in "Seasons of Love," which is arguably the most famous song of the musical.

This limited run in San Francisco will run through October 18 at Curran Theatre, and the latest incarnation of the groundbreaking 90s rock opera does not disappoint. RENT itself is the rock opera of rock operas, the show that defined a generation of Broadway-goers, the story that spoke to all 20-somethings trying to make it in the Big Apple. And then, of course, we can't forget that RENT is the musical that dealt so sympathetically and candidly with the AIDS epidemic that it earned a Pulitzer Prize for its troubles.

Although most RENT lovers will be beyond thrilled to see Rapp and Pascal just exist in the same theatre again (and don't get me wrong - they give excellent performances), to me the strengths of the show are in the ensemble pieces, as well as in some unbelievable standout performances by the rest of the cast. Every time the company is together and singing (as in "Rent," "Another Day," "La Vie Boheme," and "Seasons of Love"), the energy of the stage explodes. Justin Johnston as Angel steals every scene he's in with his flashy antics combined with genuine kindness, as well as his acrobatic vocal stylings. Lexi Lawson plays Mimi with a touching strain of innocence and a voice of pure gold, and Nicolette Hart as Maureen brings the house down with her fabulous performance of "Over the Moon." Other fantastic numbers to watch for include "Tango: Maureen," "Light My Candle," and "What You Own."

There are many messages one can take from RENT, and the beauty of this musical is that there is something for everyone. Yes, part of what initially defined its popularity was the sudden emergence of a musical for the youth, for the struggling artist, for the lost who are just trying to find meaning in their lives. But there is more than that. RENT is about forgiveness, about kindness, about giving, and most of all, about love.

Die-hard RENT fans, you won't be disappointed. This production of RENT features an energetic and passionate cast that promises to gather an entirely new generation of devotees to its curtains. And to the rest of you: this is perhaps the last time you will see three original cast members in a national tour of this brilliant show. The time to see RENT is now. No day but today."

~Rebecca Wells