South Pacific, a musical by Richard Rodgers and Oscar Hammerstein II. Lincoln Center Theater at the Vivian Beaumont starring Kelli O'Hara and Paulo Szot, directed by Bartlett Sher. "South Pacific" is the only Rodgers and Hammerstein masterpiece that has never had a Broadway revival since its historic 1949 premiere. Now at last this towering musical, perhaps the most majestic of all their works, is back and in a production and performance that are close to ideal. When the revival was announced it was immediately clear that the logical choice for Nellie Forbush would be Kelli O'Hara, a brilliantly talented performer. She does not disappoint in giving a brave performance of intelligence, grace and subtlety and which builds to a powerful climax. Her singing is very beautiful and controlled, the loveliest singing I've heard in this score, possibly even more skillful than the great Mary Martin for whom it was written. O'Hara makes the character of Nellie, warts and all, fully her own creation, one that is quite different from the exuberance of Martin. O'Hara is quieter and more restrained, but when she lets loose with "I'm in Love With A Wonderful Guy," her joy and ours is unrestrained. Her acting in the part is perfection. But if the Nellie was easily cast, not so Emile De Becque, a part that was indelibly created by Ezio Pinza, merely the greatest operatic bass of the 2oth Century. But miracle of miracles, the young opera singer Paulo Szot also creates his own character, and sings the music with enormous beauty of tone and feeling, bringing the house down with "This Nearly Was Mine." Szot, like O'Hara, acts his part to perfection. My wife and I both felt the presence of Pinza's benevolent ghost hovering over Szot. He's wonderful.
The rest of the cast is excellent. Tonight, we had an understudy as Lt. Cable, Andrew Samonsky. If the regular Cable is better, than he must be extraordinary because Samonsky was outstanding. We liked the rough Bloody Mary of Lauretta Ables Sayre (though she does not efface the memory of Juanita Hall) and enjoyed the Luther Billis of Danny Burstein. The conducting of Ted Sperling was masterful. The luxury of hearing this grand score played by a full orchestra, the effect of the underscoring, cannot be overestimated. The direction by Bartlett Sher and the sets and costumes are also perfection. Revivals do not get better than this. "South Pacific" is still in previews, but it is already nearly sold out. Do anything to get a ticket. Broadway Bridge and Tunnel Test. A+