Review by J. A. Di Bello
FORESTBURGH, NY (August 15, 2013) – For those who venture to the Forestburgh Playhouse, be it evening or a matinee, an enchanted piece of the 
American Musical Theatre stands in revival, waiting for “cockeyed optimists” to savor it whole. And if one questions hinted or slight hyperbole: Yes, it’s true. This production is of the highest caliber, deserving the steady flow of enriching superlatives it is sure to receive.
The classic “South Pacific” remains in the genre of America Musical Theatre, lyrics by Oscar Hammerstein II and Music by Richard Rodgers, first presented on Broadway in 1949. This writer has the dubious distinction of coming of age in a home where the original cast album, on 78 rpm discs, was played from dawn to early evening. Thus, every whole note, eighth note and chord progression remains to this day embedded. As has been the case in recent productions at the Forestburgh Playhouse, the inspiring talent of Kevin Lawson, as musical Director and Conductor is evident. He’s assisted in the pit by another asset of the Playhouse, Ryan Touhey. These individuals have provided so much to the atmosphere of the theatre not to mention the growing popularity of the cabarets. This pair not only enriches the spirit of Richard Rodgers, but brings to the audience the full body of his purpose: the American Musical.
Begin first with a talented, youthful actress, choreographer Emma C. Martin. Her reputation is earned and well established at the Forestburgh Playhouse. Program notes list Emma as one responsible for “Musical Staging.” And how does one determine the quality of staging? If blocking and alignment for musical numbers occur inconspicuously, it’s beautiful. Emma’s hand is unnoticed but her touch superb. ”Cast members take their places quite naturally and just seem to be where there’re supposed to be. That’s how it’s done.
The plight of star-crossed lovers, emotions encumbered by prejudices is not a theatrical or literary novelty. It has served its purpose well, exposing to light the folly of shallow, superficial thinking. In “South Pacific” four hindered lovers are but lonesome silhouettes against a background of gruesome, global warfare. Charles West (photo left), a veteran of “My Fair Lady,” “The Music Man” and “Miss Saigon” projects the intriguing paradox and physical appeal of an older Frenchman, Emile de Becque, a plantation owner with a tarnished past. As an accomplished baritone, West’s delivery of the classic, “Some Enchanted Evening” is fulfilling and establishes his credibility and intention to deliver this character in its entirety.
To stand beside and surpass the talent and appeal of de Becque, requires an actress with the stage presence, the theatrical ability to hold the stage, and the vocal range of a well-trained mezzo. Enter stage right, Ensign Nellie Forbush, USN brilliantly portrayed by Kimberly Doreen Burns, an established Off-Broadway actress. Her energy is contagious, her appeal exciting, “a hundred and one pounds of fun.” As an actress and vocalist she is noticeably cognizant of the fact that occupants of the last row also paid the price of admission.
Ensign Forbush (photo right), USN, is a military nurse in a combat zone, Pacific Theatre WWII. Her home is “Small Rock, Arkansas,” as de Becque would say. Ensign Nellie Forbush represents her time and place, carrying with difficulty and turmoil the baggage of the American South in particular and the severity of prejudices prevalent circa 1942.
As far as lovers go, the fate of Liat, the virginal Polynesian daughter of Bloody Mary, and her arranged union with the Lieutenant Cable, USMC is portrayed with feeling and a sense of demise by Mikaela Edelman and Michael Schauble. Each seems to project a sense of sadness that accompanies the knowledge that their union is doomed from the beginning.
One of the most memorable characters in any production of South Pacific is Luther Billis. Sean Buckley is a talented and deserving young actor who brings to life the scheming, nefarious deeds and machinations of Luther. He is especially effective as he and the other sailors and Seabees depict the obvious in “There Is Nothing like a Dame.”
To support the events surrounding Nellie Forbush’s tour of duty is a bevy of attractive, energetic and talented USN nurses. Led with enthusiasm by Lauren Chapman, Cassidy Stoner, Chiara Trentalange, Nicole Teebagy, Rebecca Bass, Gabriella Perez and Alyssa Mancuso, each contributes to the thrill and spunk that makes this show work.
Contributing also to the success of this Playhouse production is Michael Starr, whose admirable and reliable abilities on stage have contributed significantly to this and other productions.
Two additional deserving, skilled actors are Christopher Nolan and Matthew Fairlee. Their eager depiction of the Professor and Yeoman Quale respectively can be signs of a hopeful return to the Playhouse next season. There are too, the unforgettable children of de Becque, Jerome and Ngana beautifully presented by the commendable performances of Taylor-Walter Gregory and Michelle Andia.
To conclude, “South Pacific” surpasses the category of an icon of the American Musical Theatre. It serves as memorable and fitting tribute to the 100,000 plus American men and women who perished in the Pacific Theatre, WWII and to those fortunate to return and tell this and other “Tales of the South Pacific.” Their triumph over the personification of evil and ultimate sacrifice is saluted with each performance of “South Pacific”!
“South Pacific” continues at the Forestburgh Playhouse through August 25. For performance schedule and ticket information go to http://www.centerstageticketing.com/sites/forestburgh/showdates.php?s_id=288 or call the box office at 845-794-1194.
The Catskill Chronicle 
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