SOUTH PACIFIC The Metropolitan Musical Theatre Company of SA Inc (aka “The Met”) The Arts Theatre Until 19 May 2012 Review by Brian Godfrey There is a point in Willy Russell’s “Educating Rita” where Rita has to answer the exam question ‘Describe how you would stage “Peer Gynt”?’ – her answer: Do it on the radio! When Greg Hart was asked by The Met how he was going to stage “South Pacific” for them, he probably should have said ‘By doing it as a CD’. Hart’s production of the Rodgers & Hammerstein classic concentrates on the music and vocals, but at the suffering of the acting. Most of the performances are emotionless and stilted: with the notable exceptions of Carolyn Mesecke’s wonderful portrayal of Bloody Mary; a thoughtful, strong Lt. Joseph Cable played by Angus Birdseye; and chorus member Ashleigh McFadden as Yeoman Herbert Quale. If the rest of the cast had even one per cent of this young man’s energy and enthusiasm, the show would zing along (and probably finish well before its present ten past eleven time slot). The biggest culprit of bad acting and time dragging is any scene set in Captain Brackett’s office; it almost seems as if Hart didn’t really give much time to non-song inclusive scenes. As ‘cock-eyed optimist’ Nellie Forbush, Emma Gordon-Smith is personable enough, in fine voice and in growing on the audience; once one can get past her atrocious American accent that goes from backwoods Arkansas, through Philadelphia, visiting New York’s Jewish sector along the way – all up, a sort of “Annie Get Your Gun” vacations in the “South Pacific”. John Greene’s French planter, Emile de Becque fares a lot better in the accent department and his renditions of “Some Enchanted Evening” and “This Nearly Was Mine” are superb, but he needs more direction in his big speeches – on opening night, his explanation of why he killed a man got laughs: unfortunately, one of the few things in the show that did. The usually excellent Angus Smith looks like he has had his wings clipped by the direction and seems somewhat lost as comical con-man, Luther Billis; although his appearance in “Honey Bun” is a delight. Trish Spence has worked the cast and orchestra well, but trumpets should never be introduced to the Arts Theatre, and the show’s litmus test number, “There Is Nothin’ Like a Dame” doesn’t pass – it is very lacklustre and ordinary; as is Carmel Vistoli’s choreography. The real stars of this version are Lisa Ciossi’s brilliant, vibrant technicolour lighting and Hart and Spence’s beautifully atmospheric set. Rogers & Hammerstein’s “South Pacific” can be an island that floats nicely on a calm sea, but this current one, although not sinking, is definitely experiencing continental drift, sending it towards the Pacific ‘Ring Of Fire’.