@ Church Hill Theatre, Edinburgh, until Sat 31 Oct 2015
Everyone needs a bit of escapism. From a dreich October night for an Edinburgh audience. From demanding day jobs for the lively amateur cast from Edinburgh Gilbert & Sullivan Society. The characters themselves, transported across the ocean during WWII from small communities in the US to a dreamy tropical island.
The design on the programme says it all – the cross-like shadows of the war planes cast foreboding darkness onto pristine white sand, whilst delicate frangipani flowers float upon the sea like a temple offering. Yet these controversial (when it was first produced, due to the themes of race and attitude) and deceptively simple love stories have endured since South Pacific’s Broadway debut in 1949.
Unlike many modern musicals, each song is a veritable joy, with the strength to stand alone within any repertoire. Nurse Nellie Forbush was played with suitable knuckle-headedness and great verve throughout by Fiona Main, but it was clear this part did not push her vocal range to its obvious capabilities. David Mutch’s Emile de Becque lacked panache and at times sounded more German, but his end notes were exceptional and his acting had warmed up by the subtly moving final scene. Chris Cotter gave an authentic, gently tentative performance as love-struck Lieutenant Cable opposite a beautifully expressive Liat (Emma McFarlane). The grumpy old man double act of Captain Brackett (Ross Main) and Commander Harbison was redeemed by the wonderful Mel Brooks/Walther Matthau cragginess of David McBain’s Harbison. The moments of comedy, such as Simon Boothroyd’s cross-dressing Billis, reminiscent of Phil Silvers’ Bilko, and Caroline Kerr’s dry-as-a-bone deadpan Bloody Mary were a real treat. Both the Ensign and the Seabee choruses brought harmonious depth to Wonderful Guy and Nothin’ Like a Dame respectively – proper goose-bump moments. A special shout out to Elise Edwards and Nathan Faulds, so cute as de Becque’s children, Ngana and Jerome. Watch out for Elise, her amazing voice has already surpassed many of the adult performers. Alan Borthwick’s direction stayed true to the original on John Urquhart’s well-devised sets alongside Janice Bruce’s fun choreography.
Despite a few opening night glitches, which only added to the feeling of “the show must go on!” and the disappointing use of synthesised strings (too obvious alongside the great horn section), the cast, orchestra and crew did justice to this wonderful musical.