South Pacific – Sadler’s Wells Theatre and Touring

Gina Beck and Julian Ovenden in South Pacific at Sadler’s Wells Theatre, London and Touring. Picture: Johan Persson

South Pacific continues at Sadler’s Wells Theatre, London until 28 August 2022 before touring until 19 November 2022.

Star rating: five stars ★ ★ ★ ★ ★

For many, a big-budget musical revival must do more to justify its existence than any other type of theatrical production. New writing is chronically under-supported, and although showbusiness has always relied on popular nostalgia-fests to survive, it is a false economy to believe it has any future without investment in the new. After all, since its inception, a key function of theatre has been to challenge the ills of society, something that Rodgers and Hammerstein’s musical about prejudice and race relations South Pacific did fantastically well when it premiered in 1949. In 2022, is the best we can do a seven-decade old show by two well-meaning white men?

Honestly: no, so thank goodness this production has a lot more going for it than just social commentary. The positive message of this show hasn’t been as complicated over the interceding decades as a show like Carousel – which required radical reimagining in Timothy Sheader’s brilliant Regent’s Park Open Air Theatre production last year – but by 2022 standards, South Pacific’s handling of race and gender is inescapably clumsy. It’s one thing for the infamous Act II duet ‘You’ve Got to Be Carefully Taught’ to rightly highlight the societal failures that create prejudice, but quite another to lyricise said prejudice as being “afraid of people whose eyes are oddly made”.

With a few heaven-sent exceptions (Cabaret, let’s be explicit), the success of big-budget revivals comes not from tone-perfect socio-political critique, but in intelligent execution of tenacious material. We can forget the seriousness of some of these older shows’ themes, and an insensitively directed production can leave a sour taste. With this new South Pacific – which debuted at the end of lockdown at Chichester Festival Theatre and has now transferred to London’s Sadler’s Wells – Daniel Evans has achieved something quite remarkable. Rather than a radical reinvention along the lines of the aforementioned Regent’s Park Carousel or this year’s incredible Oklahoma! at the Young Vic, he has stuck broadly to the colourful and upbeat vibe of the original. However, through careful finessing and detail-focused direction he has refined the show into a superlative night out at the theatre.

Some component parts of this musical are timeless. Rodgers’ lush and captivating score remains heart-wrenching, and it sounds gorgeous in the capable hands of musical director Cat Beveridge and her 15-strong orchestra. Hammerstein and Joshua Logan’s book is perfectly structured and the Act I finale where we are forced to confront the racism of a character we have spent an hour falling in love with is more of a gut-punch than ever. For all the heavy themes at play here, it is easy to forget that South Pacific is ultimately an irresistibly fun musical. From the electric work of choreographer Ann Yee to the visual treat gifted by designers Peter McKintosh (set and costume), Howard Harrison (lighting) and Gillian Tan (video), its Technicolor escapism is captured perfectly.

Another key part of this revival’s success are the stellar performances of its spectacular cast. Under Evans’ direction, any ‘of-their-time’ awkward moments are handled with an appropriate degree of empathy or remove. For instance, a sexist joke that would have been played purely for laughs in 1949 is now met with indignation from some members of the ensemble, and the questionable power dynamics of a navy officer falling in love with a young Tonkinese girl are laid bare by the body language and adroit movements of the superb Sera Maehara. These little details compound to lessen the impact of any questionable lines and allow the audience to enjoy the show, secure in the knowledge that the production team is conscious of their responsibilities and competent enough to handle them delicately.

Maehara’s brilliant dance work opens and closes the musical. In a show packed with stunning visuals, her Liat lying spot-lit in the centre of Sadler’s Wells Theatre’s enormous stage might be the most memorable image. Her mother – a local trader known as Bloody Mary – is equally well-inhabited by Joanna Ampil. The role is a tough one and in the wrong hands can be counted among the worst examples of that era’s orientalism. However, Ampil finds Mary’s humanity while somehow not sacrificing any big laughs.

As the romantic leads, Gina Beck and Julian Ovenden are faultless. Both possess beautiful and powerful singing voices that at times feel almost too big for even the cavernous Sadler’s Wells Theatre. The two have terrific chemistry and despite the many in the audience possibly having seen and listened to this musical many times before, we sit on the edges of our seats, more invested in their love story than ever.

Sadly, word limits preclude giving the individual credit the 29-strong company deserve, but every performer on stage works just as hard as the leads throughout the show to ensure the energy radiated out through the auditorium is never anything less than electrifying. This production is a thrill from start to finish and, most excitingly, will no doubt prove a delightful entry point for those who are not already aware of the genius of Rodgers and Hammerstein.

We all love new musical theatre, but it can be important to look back too. When big shows require a big budget, let them be done with as much care and attention to detail as Daniel Evans has given here. More than being a simple reminder of good tunes from days gone by, this is a beautifully designed, dynamic, and genuinely thrilling show that effectively communicates the hopeful message of the original production. We leave the theatre uplifted and thoughtful, but most of all exhilarated. This is a sensational demonstration of what classic musical theatre can do when firing on all cylinders.

Ian Bowkett