South Pacific theatre review

The opening scene of South Pacific includes three of its best songs: Cockeyed Optimist, Twin Soliloquies and Some Enchanted Evening.  It sets a high standard.  As the first scene drew to a close I wondered how the remainder of this production would match such perfection.  Yet, throughout Act I, my wonder only increased.  Song upon song is brought to life with style and conviction, and I was reminded how expertly crafted the show is.  And, while it is now very much a period piece, the majority of the script rings true today and feels current.  Could it really be 64 years old?  It is a long way from retirement.

Act II provides a few obstacles - it is rather unevenly paced and many key turning points take place offstage.  Story development stalls for a good 20 minutes or so to make room for a fun, but frivolous, Thanksgiving pageant.  I give thanks to the production team and credit some very clever staging with keeping the audience engaged.  So I cannot fault the direction, lighting, sound, set design or costumes.  What of the performances?

This cast is nigh on perfect.  Mitchell Butel shines as Luther Billis, which is something of a dream role for a character actor.  He appears equally at home with his more tender moments as with those that are purely comic.  Christine Anu, as Bloody Mary, also stands out.  Anu delivers a measured performance, displaying a wide repertoire of vocal tricks and often opting for the understated choice.  This tightly restrained interpretation of a potentially wild character imbues Mary with a high status that makes sense of her presence and her influence.  

But the show belongs to Nellie and Emile.  In these roles Lisa McCune and Teddy Tahu Rhodes are nothing short of exquisite, not to mention perfectly matched.  Rhodes' voice alone could rob a handmaiden of her virtue, while McCune is a true triple threat.  The audience warmed to each of them immediately and their ongoing chemistry proved to be quite the tease, which is essential in selling the final chapter of the play.

See this show to hear two of the purest voices in show business, and to witness an exquisite rendition of one of the most significant theatrical works of the twentieth century.

Midsummer theatre review

During its best moments, Midsummer is riotously funny and tremendous fun.  At other times it drags and the story has a few sticky moments.  I felt that the slower paced moments came not from the writing, but the performers, and could have been overcome with more energetic performances.  Aidee Walker and Dan Musgrove are both adept at holding the stage with a still strong presence, as we often see them in storyteller mode.  But the play comes alive during its more frenetic periods and I would have liked to see the direction make better use of that.  For it is often playful and I loved the extravagant use of simple props such as a bag of money and some pieces of rope.  

I admire Walker's ability to craft an interesting, likable character in Helena, when the script offers nothing to endear us to her, while Musgrove's small-time crook oozes an effortless charm.  These two provide the centre of our love story, but there is a full compliment of crazy supporting characters poking and prodding these two towards each other.  Walker and Musgrove are also responsible for bringing the supporting cast to life, but they do not seem to have as much fun with that as such larger-than-life characters warrant.

Midsummer bills itself as a play with songs, so I have to mention the songs.  There were songs.  They were forgettable, and Walker in particular seemed to be out of her element on guitar.  

Midsummer seems to have been created as a fun, frivolous night out with laughter, music and naughty bits.  Silo's production misses the mark on most of these counts.  It feels more serious than it should.

See this show for the bright moments it contains.  Unfortunately they are fewer than one would hope for.