October 9, 2007
A must-see at the New Theatre
This is a musical that isn’t often produced nowadays, and I wonder why not, because it is truly one of the great, great musicals. So many wonderful songs – Some Enchanted Evening, There is Nothing Like a Dame, Bali Ha’I, I’m Gonna Wash that Man Right Outta My Hair, (I’m in Love with) A Wonderful Guy, Younger than Springtime, Happy Talk – they just keep coming, each one a delight, a whole little world in itself, opening up to the audience its own peculiar vista of joyful exuberance or wistful longing.
This production was keen to point out the racism and social inequality in American society in the 1940s that informs the attitudes and decisions of some of the characters, in case any members of a contemporary audience have forgotten what racism and inequality is (which is entirely possible if they’re children), but they didn’t have to tinker at all with the script of the musical to do this – it’s all there to begin with, and presumably was there in James Michener’s original collection of short stories on which the musical was based. It is an extraordinarily humane and tolerant story, and reminds us that even in the unenlightened days of 1949, good people had absolute moral clarity on what was and what was not acceptable behaviour towards fellow humans of different appearance or habits. It reminds us also of the role popular culture had in changing people’s expectations and making overt racism unacceptable – this musical is in the forefront and right at the beginning of the post-war era.
This production is simply superb. Ensign Nellie Forbush is played by Helena Blackman, who narrowly lost to Connie Fisher in that TV programme where they were trying to find a Maria for The Sound of Music. She was a delightful Nellie, a cheerful, good-natured “hick from the sticks” without being ickily sweet, with genuine warmth and charm that easily explained why she would be such a favourite with everyone. Her voice is rather old-fashioned, pure, clear, absolutely on the money melodic, without any of the fancy vocal tricks that are fashionable nowadays; perfect for a traditional, in-period production.
Dave Willetts as Emile de Becque was a dishy older guy convincingly reinvigorated by love, and has a wonderful rich chocolatey voice. Sheila Francisco as Bloody Mary was utterly fabulous – a formidable stage presence, her chunky scolding informing her splendiferous contralto and stealing every scene she was in. Christopher Howell was also a tour de force as the scallywag Luther Billis, extremely funny and powerful. The assorted sailors were yummy, and their dancing a delight – the choreographer, Chris Hocking, created a wonderful contrast between the athletic, rather jerky, masculine 1940s style of dancing among the Americans, and the amazingly graceful, liquid flowing gestures of the islanders. For once the sound systems at the New Theatre were under control and spot on for the job – every word was clear, amplified just enough and not too much, the orchestra was excellent, the scenery and costumes pleasing to the eye, ingenious and correct.
It was a wonderful way to spend an evening and if there are any tickets left for the subsequent performances, I thoroughly recommend you go out and buy them!
This is a musical that isn’t often produced nowadays, and I wonder why not, because it is truly one of the great, great musicals. So many wonderful songs – Some Enchanted Evening, There is Nothing Like a Dame, Bali Ha’I, I’m Gonna Wash that Man Right Outta My Hair, (I’m in Love with) A Wonderful Guy, Younger than Springtime, Happy Talk – they just keep coming, each one a delight, a whole little world in itself, opening up to the audience its own peculiar vista of joyful exuberance or wistful longing.
This production was keen to point out the racism and social inequality in American society in the 1940s that informs the attitudes and decisions of some of the characters, in case any members of a contemporary audience have forgotten what racism and inequality is (which is entirely possible if they’re children), but they didn’t have to tinker at all with the script of the musical to do this – it’s all there to begin with, and presumably was there in James Michener’s original collection of short stories on which the musical was based. It is an extraordinarily humane and tolerant story, and reminds us that even in the unenlightened days of 1949, good people had absolute moral clarity on what was and what was not acceptable behaviour towards fellow humans of different appearance or habits. It reminds us also of the role popular culture had in changing people’s expectations and making overt racism unacceptable – this musical is in the forefront and right at the beginning of the post-war era.
This production is simply superb. Ensign Nellie Forbush is played by Helena Blackman, who narrowly lost to Connie Fisher in that TV programme where they were trying to find a Maria for The Sound of Music. She was a delightful Nellie, a cheerful, good-natured “hick from the sticks” without being ickily sweet, with genuine warmth and charm that easily explained why she would be such a favourite with everyone. Her voice is rather old-fashioned, pure, clear, absolutely on the money melodic, without any of the fancy vocal tricks that are fashionable nowadays; perfect for a traditional, in-period production.
Dave Willetts as Emile de Becque was a dishy older guy convincingly reinvigorated by love, and has a wonderful rich chocolatey voice. Sheila Francisco as Bloody Mary was utterly fabulous – a formidable stage presence, her chunky scolding informing her splendiferous contralto and stealing every scene she was in. Christopher Howell was also a tour de force as the scallywag Luther Billis, extremely funny and powerful. The assorted sailors were yummy, and their dancing a delight – the choreographer, Chris Hocking, created a wonderful contrast between the athletic, rather jerky, masculine 1940s style of dancing among the Americans, and the amazingly graceful, liquid flowing gestures of the islanders. For once the sound systems at the New Theatre were under control and spot on for the job – every word was clear, amplified just enough and not too much, the orchestra was excellent, the scenery and costumes pleasing to the eye, ingenious and correct.
It was a wonderful way to spend an evening and if there are any tickets left for the subsequent performances, I thoroughly recommend you go out and buy them!