sat 03/12/2016

Q&A Special: On Recreating South Pacific | reviews, news & interviews

Q&A Special: On Recreating South Pacific

Q&A Special: On Recreating South Pacific

The director, choreographer and musical director of the New York hit explain why the show still works

Bloody Mary is the one they love: Loretta Ables Sayre and the Seabees of 'South Pacific'

It was early in 1949. South Pacific, the follow-up to Rodgers and Hammerstein’s huge wartime hit Carousel, had entered the try-out phase before hitting New York. Late one night the production team were deep in one of those 11th-hour how-do-we-make-it-better meetings that always precede the launch of a new musical. Eventually the composer Richard Rodgers cut to the chase. “Fellas,” he said, “this show is perfect. Let’s go to bed.”

Comments

The Metropolitan Opera had nothing to do with this, it's just Lincoln Center's production. And the politician who opposed Humphrey's liberal platform on race at the convention was Strom Thurmond, not Tom Thurman [corrected. Ed]. And did Bart Sher really say:"We began to explore issues of race and economic equality. That was part of the culture of the time. Rodgers and Hammerstein were good Jews but they were always trying to look for ways to research and include more complex topics in musicals." "Good Jews" really? That doesn't even make sense in that sentence, why would he even say that? Did you misunderstand him?

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