Photo by Clifford Spulock

Emile de Becque (Christopher Sanders) and Ensign Nellie Forbush (Casey Sacco) admire each other.  

By AARON KRAUSE

“Don’t die Emile!” Nellie Forbush pleads toward the end of the Pulitzer Prize winning classic 1949 musical, South Pacific. And in a heartfelt and enchanting current professional co-production in South Florida, onstage through April 27, Casey Sacco, as Forbush, makes the plea while believably fighting back tears.

Of course, by this point in the show, the young “cockeyed optimist” has realized that her prejudicial attitude was senseless.

“I love you very much,” Sacco’s Forbush sincerely tells her boyfriend Emile de Becque’s young children, Ngana and Jerome (child performers Emily Rose Cardenas and Maddox Marquina, both sweet, energetic, and believable). As she tries to comfort the youngsters, Forbush, Ngana, and Jerome can only wait to learn whether de Becque survived a dangerous spy mission in World War II.

Sacco’s touching performance as Forbush and Christopher Sanders’ graceful portrayal of de Becque are among the major reasons why true live theater fans should not miss this three-way co-production. The producers are Arts Center Management Theatricals, the Lauderhill Performing Arts Center (LPAC), and the City of Lauderhill.

Performances of this Broadway at LPAC co-production, the last show of this season, take place at the Lauderhill Performing Arts Center. The running time is about two hours and 40 minutes, including intermission.

Under Michael Ursua’s sensitive and smart direction, a large cast of dynamic performers, with nuance, energy, and credibility, disappear into their characters. With conviction and meaning, the performers act, dance, and sing composer Richard Rodgers and lyricist Oscar Hammerstein II’s unforgettable songs to the accompaniment of solid recorded music by Right On Cue Services.

As you may know, South Pacific takes place on an island in the titular territory during World War II. Forbush is a spunky nurse from Little Rock, Ark. who is serving in the war. While at an event, Forbush meets de Becque, a French planter and civilian on the island, and falls in love with him. But when Forbush learns that the mother of de Becque’s children was an island native, she refuses his marriage proposal. Why? She initially could not overcome the bias with which her folks raised her.

Meanwhile, the strapping Lt. Joseph Cable falls in love with a Tonkinese girl named Liat. However, his prejudice prevents him from marrying her. Unfortunately, it is soon too late. Before long, Cable accompanies de Becque on a spy mission that sadly claims the former’s life. Fortunately, a transformed Forbush chooses to happily and thankfully live with de Becque and his children. It is not a spoiler to say that the French planter returns from the mission unscathed. But even though we may know the outcome, the production is so fresh and engaging that we hope and pray for a happy ending.

The stage musical, based on James A. Michener’s Pulitzer Prize winning book, Tales of the South Pacific, is beloved for several reasons. For starters, the musical’s libretto, by Hammerstein and Joshua Logan, is moving, humorous, timeless, and timely, especially during the divisive and upsetting time in which we are living.

In addition, the gorgeous, memorable melodies are so recognizable, you can almost hear the songs simply by seeing their titles. Truly, the delightful “Some Enchanted Evening,” the joyous “A Wonderful Guy,” the energetic “There is Nothing Like a Dame,” the playful “I’m Gonna Wash That Man Right Outa My Hair,” the character revealing “A Cockeyed Optimist,” and the mysterious and tempting “Bali Ha’I,” are classics. Of course, Rodgers and Hammerstein revolutionized American musical theater. Their ability to integrate music, story, and dance seamlessly forever changed musical theater for the better.

In South Pacific, we root for the recognizable, likable, yet flawed characters. And we grow concerned for them in the show’s setting of a war zone.

The characters, along with hopefully us, learn important lessons about sensitive social issues such as prejudice, bullying, love, sacrifice, courage and what matters most in life. You may leave the theater with a renewed dedication to life’s essentials — wellbeing, connecting with others, food, family, fulfillment, and safety, among other things. In addition, you may feel moved to look inward and uncover your own latent biases. Great musicals such as South Pacific carry the power to make us re-look at ourselves.

Life threatening situations such as wars, plagues, and major illnesses have a way of soberly reminding us what is truly important in life – and what is petty. South Pacific’s focus on prejudice, against the backdrop of a major world war, is a true wake up call.

A song in South Pacific that you may not know as well as, say, “Some Enchanted Evening,” is “You’ve Got to Be Carefully Taught.” Cable (Collin Salvatore) sings it to express his internal conflict and frustration with his deeply ingrained prejudice preventing him from marrying Liat. To his credit, Salvatore, oozing disgust, forcefully yet naturally sings the song with a scowl on his face.

When he first enters the stage, Salvatore’s Cable, sporting sunglasses, seems quiet and reserved, yet determined and brave. While he can seem aloof, Salvatore’s Cable gently sings “Younger than Springtime.” Through the song, Cable expresses his feelings for the tender Liat (a sensitive Thaylin Maria).

Liat’s mother is a native nicknamed “Bloody Mary.” She runs her own business, selling souvenirs to the navy men while paying her native craftspeople generously. “Bloody Mary” is a beloved character with a mystique. Deftly, Marisol Morales-Dow, with a strong and expressive voice, lends the character sassiness and confidence, but not arrogance.

As Morales-Dow portrays her, this blunt, resourceful woman can be playful, seductive, and funny. But ultimately, she wants what is best for Liat. We sense the older woman’s anger when Cable ultimately refuses her daughter, and we pick up her warmth as Bloody Mary sings the joyful and encouraging number, “Happy Talk” to Cable and Liat.

Sanders, a tall actor with dark hair and a powerful voice, endows de Becque with an endearing sincerity and gracefulness. The character’s polish is clear through, for instance, Sanders’ elegant rendition of “Some Enchanted Evening.” His deep, rich, strong, and pleasant voice fills the theater. In addition, Sanders conveys his character’s disappointment through the sad number “This Nearly Was Mine.” The only flaw in Sanders’ performance is that he sounds too American as the Frenchman.

Sanders shares strong chemistry with Sacco. At one point, the music swells as the couple toast and then drink. A romantic aura suffuses the space during their scenes together, reinforced by Clifford Spulock’s dim lighting.

Sacco, a lively performer with blonde hair that bounces as she moves, radiates charm, sensitivity, cheerfulness, playfulness, and modesty as Forbush. A sunny smile often graces her face, accentuated by red lipstick. In addition, an expression combining awe and joyfulness fills her voice during her rendition of “A Wonderful Guy.” Also, a playful confidence overtakes her voice during “I’m Gonna Wash That Man Right Outa My Hair.” And a charming naiveté characterizes her in “A Cockeyed Optimist.”

Sacco, who speaks and sings with an authentic southern accent, shines as Forbush, one of her dream roles according to her bio. It is hard to find fault with Sacco’s winning portrayal of Forbush. However, her expression could be bigger at the end. In fact, it is hard to read her expression when de Becque returns home at the end.

Other strong performances include Lovell Rose’s gregarious Luther Billis, Bill Brewer’s honorable Capt. George Brackett, and the performers portraying the Seabees. Their rendition of “There’s Nothin’ Like a Dame” is filled with unmistakable manliness. Ursua and Jorth group like-minded characters close together, suggesting their solidarity with each other.

While the performers excel, the behind-the-scenes artists turn in quality design work. Spulock’s evocative lighting, Penelope Williams’ period costumes, and Christopher Wynter’s clear sound design enhance the production.

The scenery, provided by Utah Festival Opera & Musical Theatre, is striking and realistic. A detailed backdrop of a beach and body of water places us in a familiar setting. One of the most impressive scenic pieces is what resembles a real, slanting palm tree.

The musical juxtaposes the innocence of childhood, in the beginning, with the harsh reality of war as the show progresses. We long for that simplicity and innocence when de Becque’s children sing the carefree French song “Dites-Moi” at the beginning of the show.

In a touching moment at the end, Nellie sings the song with the children when they are waiting for news about de Becque. Suddenly, his voice joins his children and girlfriend to finish the reprise of the song.

In this co-production, the last thing we see is de Becque offering his hand to Forbush – and her accepting it, clearly having overcome her prejudice.

The English lyrics to “Dites-Moi” are as follows.

Tell me why life is beautiful? Tell me why life is gay? Tell me why, Dear Miss? Is it because you love me? Tell me why, Dear Miss? Is it because you love me?

IF YOU GO

WHAT: South Pacific.

WHEN: Through April 27

WHERE: Lauderhill Performing Arts Center, 3800 N.W. 11th Place. Show times are 7:30 p.m. Friday and Saturday we well as 2 p.m. matinees on Wednesday, Thursday, Saturday, and Sunday.

TICKETS: Prices start at $45. Call (954) 777-2055 or visit www.lpacfl.com.