Cast Size: Small (1-10) • Medium (5-21) • Large (14+). Vocal Demands: Easy • Moderate. Dance Requirements: Some Dancing Required • Minimal. Good For: Elementary School • High School • College/University • Amateur/Community • Professional Theatre • Religious Organization.
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South Pacific CD- The New Broadway Cast Recording
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Lincoln Center Theater’s acclaimed production of Rodgers & Hammerstein's SOUTH PACIFIC comes to Britain this summer. read more
If you have recently received performance materials for SOUTH PACIFIC or THE KING AND I, you may have noticed that we are now offering our newly restored editions of these musical classics. Along with CAROUSEL and THE SOUND OF MUSIC, SOUTH PACIFIC and THE KING AND I (and next year’s OKLAHOMA!) join our list of bright, new, computer generated and user-friendly performance editions. read more
Announced in London this morning was the exciting news that Hawaii's own Loretta Ables Sayre will re-create her Tony nominated performance as Bloody Mary when the 7-time Tony Award winning Lincoln Center Theater production of Rodgers & Hammerstein's SOUTH PACIFIC comes to Britain this summer. read more
The seven-time 2008 Tony Award winning Lincoln Center Theater production of Rodgers & Hammerstein’s SOUTH PACIFIC, directed by Bartlett Sher, launches its National Tour in September. read more
R&H Theatricals Charlie Scatamacchia speaks with two generations of artists about Broadway, community theatre, SOUTH PACIFIC, Rodgers and Hammerstein and the power of musicals.Read the full interview with Liz Callaway, Dan Foster, Nicholas Foster, Cris Groenendaal, Susan Anderson, and Emily Groenendaal... read more
This new book features more than 850 lyrics, from "Oh, What a Beautiful Mornin'" to "Some Enchanted Evening." Edited by Amy Asch, with an Introduction by Ted Chapin, and an essay, "Random Reflections," by Alice Hammerstein Mathias... read more
SOUTH PACIFIC wins Best Revival of a Musical and a total of seven 2008 Tony Awards... read more
The cast of South Pacific and the author of The South Pacific Companion Book took the stage at Barnes & Noble in Lincoln Square to delight the audience with songs and tales from South Pacific... read more
Broadways first revival of SOUTH PACIFIC received 11 Tony Award nominations including Best Musical Revival, it was announced in Manhattan this morning... read more
On April 21, Lincoln Center Theater raised a banner heralding their hit production of SOUTH PACIFIC. And on April 18, Bloomingdale's unveiled a SOUTH PACIFIC window display at their flagship store... read more
Since the songs from OKLAHOMA! provided more hits than any previous musical, the capturing of so many three minute gems in one set of four discs was exciting indeed... read more
The book for the stage version of STATE FAIR was written by Louis Mattioli and our own Tom Briggs, Director of the R&H Theatre Library, who also had the idea to adapt STATE FAIR to the stage in the first place. read more
Life upon the wicked stage, as captured in hundreds of show posters, photographs, design sketches, caricatures, set models and costumes, will be the subject of RED, HOT & BLUE! A SALUTE TO THE AMERICAN MUSICAL... read more
Interview with: , , , , , , , , , , , , , , , , , ,
ED: Was there a particular discovery in the design process ofÂ South Pacific that opened the work up?Â
BS: The diagonal we discovered brings an energy and a dynamism to everything. We were really struggling with the design, which was very symmetrical, and then suddenly when we threw it on a diagonal it almost started to stage itself.Â
ED: And will the set pieces be automated?Â
BS: There won't be as much of that. The floor itself is automated, but because the island is occupied a lot of it will be pushed on by hand, by the Seabees.Â
MY: It feels very Brechtian, in a funny way.Â
BS: If it's a little too slick and a little too automated, it's going to lose that out-at-the-edge-of-the-universe quality.Â
ED: What are you doing now?Â
MY: We had a bid session two weeks ago.Â
ED: What is a bid session?Â
MY: Everything that's going to be on that stage has to have a price put on it. So we take all the drawings that were made from the rough models and invite shops to come to Lincoln Center and bid on them. Everyone's very poker-faced. You talk about each plate of drawings, and you answer their questions as they assess how you want things built or painted. Then they go away, and for about two weeks you're bombarded with logistical questions. Today my heart is in my throat-we're waiting for the prices to come in. Usually they come in at two or three times what you have to spend.Â
ED: It's sort of like hiring a contractor.Â
MY: Exactly. The process is good; it makes you reexamine every piece. It makes the design much more concise. Then we go through everything with Jeff Hamlin, who's the production manager, and Paul Smithyman, his associate, and we talk about which shop is going to be able to do what.Â
ED: Do the shops ever come back with different ways of building something?Â
MY: Totally. As a set designer, you really only convey what you want something to look like; you're not telling them how to build it. So the drawings themselves have a lot of character-Billis's laundry unit's got a washing machine with suds that flop around and spill out, and it has its own springs. And the shops love that. They give us a lot of feedback about how things should be built. Several of them said to me, "Oh, this is going to be so much fun. We really want to do this." And it's great when you get that kind of response.
ED: It's like you've designed a house, and all the furniture. Did you always want to be a set designer?Â
MY: I grew up in Dallas, Texas, and every spring the Metropolitan Opera would come through on tour. In the fourth grade, I had a fantastic music teacher who would go to the offices of the Met and bring back posters of the shows. She would paper the classroom with them and tell us cleaned-up stories of the operas, and then she would take us to matinĂ©es. I lived for those springs when the Met would come through. I'd see everything. And our teacher would have us make little shadow boxes of scenes from the opera in shoeboxes. And I'm still doing it. (Laughs) My mother still has some of them. I was obsessed. Opera News would feature whatever opera was being broadcast on the radio on Saturdays, and I would listen and look at the pictures of the sets in the magazine. I'd copy them and then I'd make them better. I loved it. Dallas was an amazing place to be at that time. Lawrence Kelly, who founded the Dallas Civic Opera, brought this unknown Italian director, Franco Zeffirelli, to Dallas. And Zeffirelli directed La Traviata with Maria Callas. I saw that; she was truly extraordinary. It was life-changing.Â
ED: How did you find your way to the East Coast?Â
MY: Well, there were the Dallas summer musicals, which were performed in the same theater as the operas. I think they did six or seven musicals for two weeks every summer. And these were full-blown productions, designed mainly by a Yale graduate who lived in Dallas, Peter Wolf. He had a fantastic shop. He was a wonderful designer for musical comedy. So I would usher, and I'd watch those shows fourteen times. I would sit in the balcony. It's where I first sawSouth Pacific and Brigadoon. My father and I went to see Peter, but he couldn't hire me since his shop was unionized. So I asked him what I should do to pursue set design, and he said, "Go get a good liberal-arts education. Don't go into it now. Study art, study architecture, English, theater, history. Then go to the Yale School of Drama, where I went, and study set design with Donald Oenslager." I went to a small school, Stetson University, in Florida. I was a terrible student. But they did have a good, small theatre program and a junior-year-abroad program. So I studied in Spain and traveled around, seeing as much opera and theater as I could. The other day I found a program from a Rigoletto that I saw at La Scala. I didn't realize at the time what I was seeing, but the list of singers included Luciano Pavarotti. This was back in the sixties. It was an incredible time. Everyone should leave the country for a time and study abroad; it completely changes the way you think about things and the way you perceive your own country. I came back and applied to Yale, and spent a year teaching at a high school in Florida that had just been integrated. We did Spoon River Anthology, and I directed and designed it with the kids. It brought the black and white factions together, and so when I was accepted at Yale I almost didn't go, because I felt like I was really doing something there. I loved teaching.Â
ED: Years ago, this magazine published an article by Arthur Levine, the president of Teachers College, Columbia University, who said the only two parts of academia that are truly integrated are theater and sports.Â
MY: That's absolutely right. It was wonderful to watch these kids. They were completely separate until we did the tryouts. But they got to know each other, and by the end they had bonded. And I thought, Wow. This is what theater can do.Â
ED: As we sit here today, at the same time as you're immersed in creatingÂ South Pacific you're also in the theater every night, in technical rehearsals watching another set of yours, the one forCymbeline. After you've watched your set come to life-after the load-in where the trucks pull up, and the crews come, and they build it all, and you watch your house being built-you still don't go away?Â
MY: No! No! I think the most terrifying moment for a designer-and maybe I'm alone in this-is when the set finally arrives on the stage. I work very closely with the master carpenter-here it's Bill Nagle, who's fantastic. Long before the sets hit the stage, we have to work out where everything hangs, how everything has to move so pieces don't collide with each other. Then, I try to stay away from the load-in process because when they're bringing in scenery things get banged and broken. When they're ready, I try to come in for the first time from the lobby, the way the audience will. And I think, Is this going to work? It takes a bit of time for everyone to get used to the fact that it's not a model anymore and that it's bigger than they thought, or smaller than they thought. It is like a house. You have to move into it and learn to be able to get up in the middle of the night and find the bathroom without turning a light on. You have to know how to live in it. And then, as you go through the technical rehearsals-my favorite part of the process, besides the research-you're all in the same room and everyone's working on it. And then the actors come onto the space and make it their own. That's when the show comes to life. It's a miracle to me.
Table of Contents
The tale of SOUTH PACIFIC is as fascinating as the tales that inspired it. When director Joshua Logan suggested the idea of doing a musical based on James Michenerâs collection of short stories, Tales of the South Pacific, to producer Leland Hayward, Hayward immediately saw its possibilities. Logan, who had already achieved great success in the post World War II theatre with his production of MISTER ROBERTS, saw a great dramatic potential in focusing on one corner of the vast world war that had just been fought. He conveyed his vision to longtime friend and collaborator, composer Richard Rodgers.
Rodgers though that several of the stories had strong dramatic potential, and his opinion was confirmed by his partner, librettist/lyricist Oscar Hammerstein II (who had also sought comments from his son William Hammerstein who had not only served as stage manager for Loganâs MISTER ROBERTS but had himself served with the U.S. Navy in the South Pacific during the war.) While Logan had originally intended to musicalize only one of the stories in Michenerâs collection, âFoâ Dolla,â it was Rodgersâ idea that they secure rights to the entire book to draw different characters and plot strands for their musical.
This turned out to be a wise move because, upon closer investigation, the romance at the heart of âFoâ Dollaââabout a handsome American marine officer and the local island girl whose heart he breaksâwas too close to Pucciniâs MADAME BUTTERFLY to build an entire musical around (at least, such was the thinking in the days before MISS SAIGON.) So, while it was decided to make this the tragic subplot of the musical, another romance was needed to give SOUTH PACIFIC its dramatic structure. A story called âOur Heroineâ seemed to be a better choice for a main plot and its unusual May-December romance was perfectly suited to Rodgers and Hammersteinâs penchant for writing to challenging situations. This story dealt with a romance between a middle-aged French planter, Emile de Becque, and Nellie Forbush, a young American nurse from Little Rock, Arkansas while also delving into the disturbing issue or racial intolerance and bigotry.
Casting the starring roles was comparatively easy. Ezio Pinza, the famed Metropolitan Opera basso, was anxious to appear in a Broadway musical and the part of Emile was perfectly suited for him. Mary Martin, who had impressed Rodgers and Hammerstein the year before with her fresh, down-home country appeal in the title role of the national tour of ANNIE GET YOUR GUN, was their first and only choice for Nellie. Mary Martin, however, needed some coaxing; she was dying to appear in the musical, but nervous about co-starring with a talent as large as Ezio Pinza. âWhat do you want,â she reportedly quipped. âTwo basses?â
But one hearing of the score convinced her. Knowing who they wanted for their leads, Rodgers and Hammerstein wrote the score for them. Thus, the two leads are never in musical competition with each other; in fact, rarely to they even sing a duet with one another (a gentle reprise of âSome Enchanted Eveningâ is the only exception, while their âTwin Soliloquiesâ are more complementary than competing.) Emile, the romantic European, is given such luxuriant, rolling numbers as âSome Enchanted Evening,â and âThis Nearly Was Mineâ while Nellie from Little Rock gets the infectious, brassy Broadway sounds of âHoney Bun,â âIâm In Love with a Wonderful Guy,â and âIâm Gonna Wash That Man Right Outa My Hair.â
Although it had its share of problems, SOUTH PACIFIC enjoyed a comparatively smooth sail to Broadway via out of town tryouts in New Haven and Boston, Expectations were running high:Â the director and the authors were at the pinnacles of their careers; the two stars each had fans in their own arenas and together promised to create a whole new following; and the subject matter hit home to an America still dealing with the giddy excitement and relief at having survived a second world war in less than half a century.
By the time it opened on Broadway SOUTH PACIFIC was already legendary, the major theatrical event of Broadway in its golden era. Astonishingly, this was one musical that not only managed to meet its hype, but actually to top it. âMagnificent,â cheered Brooks Atkison in the New York Times. âSOUTH PACIFIC is as lively, warm, fresh and beautiful as we had all hoped it would be.â
SOUTH PACIFIC received the 1950 Pulitzer Prize for Drama and for the first time the committee included a composer (Richard Rodgers) in the drama prize. It received eight Tony Awards, including Best Musical, a Grammy Award and countless other accolades. For years the second-longest running show in Broadway history (right behind OKLAHOMA!), itÂ has proven itself a classic in countless productions around the world and on the silver screen, where Rossan Brazzi and Mitzi Gaynor took us to the enchanted South Pacific.
On an island in the South Pacific during World War II, Nellie Forbush, a young Navy nurse from Little Rock, Arkansas, meets and falls in love with a gallant, middle-aged Frenchman, Emile de Becque. Emile is a planter and has lived on this particular island for twenty-five years. When he proposes to Nellie, he confesses that the reason he had to flee France was because he killed a manâthe town bully whom no one else would stand up to. Nellie is able to accept this explanation and promises to consider Emileâs proposal of marriage.
Also stationed on the island is a group of restless sailors, Seabees and marines who are obviously bored and sorely in need of female companionship. Souvenir collecting is about the only active pastime and has developed into a healthy competitive marketing war between Seabee Luther Billis, who has cornered the market in everything from grass skirts to shrunken heads, and Bloody Mary, the local Tonkinese dealer in such trophies.
Lieutenant Joseph Cable, a handsome young Marine, arrives with an assignment to persuade de Becque, who is familiar with the nearby islands, to accompany him on a dangerous secret mission. Their task would be to hide out on a Japanese-held island, watch for enemy ships and convey this information to their own pilots, who would then use this first-hand intelligence to attack the Japanese convoys. Nellieâs friendship with Emile is known to the Island Commander and she is asked to obtain all the information she can about the circumspect Frenchman.
Meanwhile, Luther Billis has a mission of his ownâto get over to the mysterious and forbidden island of Bali Haâiâand he convinces Lt. Cable to lead a pleasure-seeking expedition there. On the island, Bloody Mary introduces Cable to her beautiful daughter, Liat, and the Lieutenant falls in love with her.
Confused about her feelings for Emile, Nellie decides to play it safe and announces steadfastly âIâm gonna wash that man right outa my hair!â But Emile convinces her of his love, when he invites her to dinner at his home so that his friends may meet her, Nellie accepts and has a wonderful evening. Nellie is in love, and for the first time believes she and Emile could spend a wonderful lifetime together. Emile introduces her to two sweet native children, the off-spring of a Polynesian woman and a European. Nellie is charmed by the children but then, when Emile informs her that they are his, the prejudices and fear inherent in her mid-â50s, small town upbringing rise to the surface and, panicked, she runs from Emile and from the future they had just planned.
At the same time Joe Cable, despite his deep love for Liat, is caught is a similar trap of his own prejudices and, though he loves her, decides he cannot marry her.
Both Cable and Emile are feeling the recklessness of lost love, and with that recklessness comes the willingness to take greater risks. They embark on their spy mission to a neighboring island where, for a few days, the plan works and they are able to transmit messages of Japanese naval maneuverings. Eventually they are discovered, however; Cable is killed, and a radio contact with Emile is cut off.
Faced with the sudden realization that she may have lost Emile, Nellie is able to put her fears and meaningless prejudices into perspective and realizes that her love for him and the things he stands for is paramount. She makes her way to his home and is feed lunch to his two children, whom she loves as her own, when Emile returns. He is weary, he is battle-worn, but he is alive, reunited with his children, and with Nellie.
Block, Geoffrey. The Richard Rodgers Reader. New York: Oxford University Press, 2002.
Ewen, David. Richard Rodgers. New York: Holt, 1957.
Ewen, David. With a Song in His Heart (Richard Rodgers). New York: Holt, Rinehart and Winston, 1963.
Fordin, Hugh. Getting To Know Him: The Biography of Oscar Hammerstein II. New York: Random House, 1977; Decapo Press, 1995.
Green, Stanley. The Rodgers and Hammerstein Story. New York: John Day, 1963; Decapo Press (Paperback), 1980.
Green, Stanley. The Rodgers and Hammerstein Fact Book. Milwaukee: Hal Leonard, 1980.
Hammerstein II, Oscar. Lyrics. Introduction by the author, Preface by Stephen Sondheim. Milwaukee: Hal Leonard, 1985.
Logan, Joshua. Josh. New York: Delacorte Press, 1976.
Martin, Mary. My Hearts Belongs (Autobiography). New York: William Morrow & Co., Inc., 1976.
Michener, James A. Tales of the South Pacific. New York: Curtis Publishing House, 1946.
Michener, James A. James A. Michener Tells SOUTH PAFICIC. Illustrated by Michael Hague. New York: Harcourt brace Jovanovich, 1992.
Mordden, Ethan. Rodgers & Hammerstein. New York: Harry N. Abrams, Inc., 1992.
Nolan, Frederick. The Sound of Their Music. New York: Walker, 1978; Applause Books, 2002.
Rodgers, Richard. Musical Stages: An Autobiography. New York: Random House, 1975; New York: Jove Paperback, 1978; DeCapo Press, 1995; (Revised Edition, 2002).
Taylor, Deems. Some Enchanted Evenings. New York: Harper, 1953.
Written By: Lincoln Center Theater
Academy Awards (United States)January 01, 1958 — 3 Nominations for Best Sound, Color Cinematography, and Best Music (Scoring)
New York Drama Critics Circle Awards (United States)November 30, 1948 — Best Musical
Donaldson Awards (United States)January 01, 1950 — 9 Awards including Best Musical, Book, Lyrics and Score
Theatre World Awards (United States)November 30, 2007 — Loretta Ables Sayre
November 30, 2007 — Paulo Szot
Pulitzer Prize (United States)November 30, 1950 — Drama
Drama Desk Awards (United States)November 30, 2008 — Outstanding Actor in a Musical - Paulo Szot
November 30, 2008 — Outstanding Revival of a Musical
November 30, 2008 — Outstanding Director of a Musical - Bartlett Sher
November 30, 2008 — Outstanding Set Design - Michael Yeargan
November 30, 2008 — Outstanding Sound Design in a Play - Scott Lehrer
November 30, 2008 — Nominated for Outstanding Actress in a Musical - Kelli O'Hara
November 30, 2008 — Nominated forÂ Outstanding Featured Actor -Â Danny Burstein
November 30, 2008 — Nominated for Outstanding Lighting Design - Donald Holder
Laurence Olivier Awards (London) (United States)November 30, 2002 — Nominated for The Hilton Award for Outstanding Musical Production
November 30, 2002 — Best Actor in a Musical or Entertainment - Philip Quast
Outer Critics Circle Awards (United States)November 30, 2007 — Outstanding Actor in a Musical -Â Paulo Szot
November 30, 2007 — Nominated for Outstanding Actress in a Musical - Kelli O'Hara
November 30, 2007 — Nominated for Outstanding Choreography -Â Christopher Gattelli
November 30, 2007 — Nominated for Outstanding Costume Design -Â Catherine Zuber
November 30, 2007 — Outstanding Director of a Musical - Bartlett Sher
November 30, 2007 — Outstanding Featured Actor in a Musical - Danny Burstein
November 30, 2007 — Outstanding Revival of a Musical
November 30, 2007 — Nominated for Outstanding Set Design -Â Michael Yeargan
Tony Awards (United States)November 30, 1949 — BestÂ Scenic Designer -Â Jo Mielziner
November 30, 1950 — Best Actor (Musical) -Â Ezio Pinza
November 30, 1950 — Best Actor, Supporting or Featured (Musical) - Myron McCormick
November 30, 1950 — Best Actress (Musical) -Â Mary Martin
November 30, 1950 — Best Actress, Supporting or Featured (Musical) - Juanita Hall
November 30, 1950 — Best Director -Â Joshua Logan
November 30, 1950 — Best Libretto -Â Oscar Hammerstein II andÂ Joshua Logan
November 30, 1950 — Best Producers (Musical) -Â Produced byÂ Leland Hayward,Â Oscar Hammerstein II,Â Joshua Logan andÂ Richard Rodgers.
November 30, 1950 — Best Score - Richard Rodgers
November 30, 2008 — Best Revival (Musical) -Â Producers: Lincoln Center Theater,Â AndrĂ© Bishop,Â Bernard Gersten,Â Bob Boyett
November 30, 2008 — Best Actor (Musical) - Paulo Szot
November 30, 2008 — Nominated for BestÂ Actress (Musical) - Kelli O'Hara
November 30, 2008 — Nominated for Best Actor (Featured Role--Musical) - Danny Burstein
November 30, 2008 — Nominated forÂ Actress (Featured Role--Musical) -Â Loretta Ables Sayre
November 30, 1950 — Best Musical -Â Music byÂ Richard Rodgers, lyrics byÂ Oscar Hammerstein II, book byÂ Oscar Hammerstein II andÂ Joshua Logan. Produced byÂ Leland Hayward,Â Oscar Hammerstein II,Â Joshua Logan andÂ Richard Rodgers,
Vocal Range of Characters:
Notes on The Military
When SOUTH PACIFIC was first produced in 1949, audiences were largely familiar with the military aspects of the show. Â The farther World War II recedes into memory, however, the more unfamiliar the rankings, ratings, machinery, behavior, and feel of wartime military behavior become. Â By way of assistance we offer this brief guide to the military aspects of the show.
The characters in SOUTH PACIFIC have decidedly different ranks. Â Captain Brackett is the highest ranking officer, followed by Commander Harbison. Â They do not salute each other, but everyone else would salute either or both. Â When Captain Brackett and Commander Harbison first enter, however, [Act 1, Scene 3] the men pretend to be preoccupied and do not salute. Â This might bother the Captain if he werenât so furious at Bloody Mary as not to notice. Â Joe Cable is a Marine Lieutenant and, as such, merits a salute from the enlisted men which he would return with a salute. Â He would also salute Captain Brackett and Commander Harbison. Â When Cable first enters the men should rise to salute him, but Billis signals them to desist. Â Luther Billis is a sailor who bullies, bribes, and charms his way through military life, although ultimately he always loses. Â He has no respect for authority unless he is scared or wants something.
The enlisted men are rated, not ranked. Â The ratings are Sailors, Marines, and Seabees and differ by their functions in way. Â Sailors serve at sea, Marines are amphibious troops who serve both on ships and on land, and Seabees are sailors who serve in the Construction Battalion (hence their acronym, C.B.) and are responsible for the construction and maintenance of the bases and their equipment. Â As the action of SOUTH PACIFIC takes place one step removed from the battlefront, there is a decidedly casual aspect to the enlisted men. Â They are caught in a middle groundânot quite in the war, not quite out of the war.
As for equipment, a PBY was a slow but steady seaplane used mostly for reconnaissance. Â Jerry cans are large metal rectangular cans to hold gasoline or other liquids, frequently seen strapped to the sides of jeeps.
Written By: Oscar Hammerstein II
Who creates a play?
I become more and more convinced that no writer creates anything, and no good writer tries. He knows he is an agent of the world he lives in, the world of his time and of centuries before his time.
What and who created this one musical play? The libretto derives from a book, Tales of the South Pacific, a group of stories which won the Pulitzer Prize for fiction. How did James Michener 'create' these? Out of his head? Out of a typewriter? No. It seems he had a job in the Navy, a roving job that flew him back and forth among the islands of New Hebrides and New Guinea groups. In these journeys he met people and found them in situations partly created by a world war. I say partly created because their reactions to these situations were determined by their characters, and their characters were moulded by their immediate environments and heredities and the history of religion and science and poetry up to the time they were born. Michener took actualities and realities and fictionized them into a group of stories, some amusing, some deeply romantic.
Next step in 'creation': Leland Hayward thought these stories would make a good musical play. Next step: so did Rodgers and Hammerstein. For three months Dick Rodgers, Josh Logan and I wrote nothing. We struggled with the problem of selection. There were so many stories we liked. We couldn't use them all. We finally settled on two. We borrowed a few of our favorite characters from some of the other stories, and our next job was to combine all these into one coherent narrative. It took us a year to make this adaptation. We cannot, however, say that our work was the end of SOUTH PACIFIC's creation, for the theatre is a place of complex mass collaboration, and anyone who seeks to claim the sole credit for any play is a blind egomaniac.
This play emerged as the combined work of the composer, the authors, the director, the designers, the stars and their supporting cast, and many more who must be included as sources of creation. After all these had contributed their talents and energies, the final factor in creation was the audience. An audience must apply its composite heart and mind to a play, create it as something it believes should exist or destroy it as something it believes should not exist. So when the curtain rose on the opening night, the circle was complete.
This tale of the South Pacific, taken out of the living world and crystallized into theatrical form, was offered back to the living world for approval.
from 'How 'South Pacific' Was Written'
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- "My Girl Back Home" Orchestration (24 Books)
- 1 – PIANO CONDUCTOR SCORE
- 1 – FLUTE
- 1 – OBOE
- 1 – CLARINET I
- 1 – CLARINET II
- 1 – BASSOON
- 1 – HORN I
- 1 – HORN II
- 1 – HORN III
- 1 – TRUMPET I
- 1 – TRUMPET II
- 1 – TRUMPET III
- 1 – TROMBONE I
- 1 – TROMBONE II
- 1 – TUBA
- 1 – PERCUSSION (Xylophone and Timpani)
- 2 – VIOLIN A-C (Divisi)
- 2 – VIOLIN B-D (Divisi)
- 1 – VIOLA (Divisi)
- 1 – CELLO
- 1 – BASS
- 1 – HARP
- Orchestra Package (22 Books)
- 1 – PIANO CONDUCTOR SCORE
- 1 – FLUTE (Doubling Piccolo)
- 1 – OBOE (Doubling English Horn)
- 1 – CLARINET I-II
- 1 – BASSOON
- 1 – HORN I-II
- 1 – HORN III
- 1 – TRUMPET I-II
- 1 – TRUMPET III
- 1 – TROMBONE I
- 1 – TROMBONE II
- 1 – TUBA
- 1 – PERCUSSION
- 1 – VIOLIN A (Divisi)
- 1 – VIOLIN B (Divisi)
- 1 – VIOLIN C (Divisi)
- 1 – VIOLIN D (Divisi)
- 1 – VIOLA (Divisi)
- 1 – CELLO (Divisi)
- 1 – BASS
- 1 – HARP
- 1 – Trumpet I
- 1 – TRUMPET II
- 0 – VIOLIN I
- 1 – VIOLIN II
- 1 – CLARINET I
- 1 – CLARINET II
- 1 – HORN I
- 1 – HORN II
- Rehearsal Set (22 Books)
- 20 – Libretto-Vocal Books
- 1 – Logo CD
- 2 – PIANO VOCAL SCORE
- 0 – Digital Logo
- SOUTH PACIFIC - TWO PIANO ARRANGEMENT (2 Act I, 2 Act II)
- 2 – TWO PIANO ARRANGEMENT - Act I
- 2 – TWO PIANO ARRANGEMENT - Act II
- SOUTH PACIFIC - Full Score (1 Act I, 1 Act II)
- Libretto/Vocal Books 10 pack
- 10 – Libretto-Vocal Books
- SOUTH PACIFIC - PRE-PRODUCTION PACKAGE
- 1 – LIBRETTO-VOCAL BOOK
- 1 – PIANO VOCAL SCORE
- 1 – PIANO CONDUCTOR SCORE
- South Pacific Flat Bundle
- 1 – Flat Banners
- 1 – Flat Facebook Tabs
- 1 – Flat Print
- 1 – Flat Poster
- South Pacific Layered Bundle
- 1 – Layered Banners
- 1 – Layered Poster
- 1 – Layered Print
- 1 – Layered Facebook Tabs
Large singing ensemble consisting of Islanders, Nuns, Officers, Sailors, Marines, and Soldiers
Ensign Nellie Forbush
Emile De Becque
Ngana - his daughter
Jerome - his son
Henry - his native servant
Liat - her daughter
Bloody Mary's Assistant
Stewpot (Carpenter's Mate Second Class, George Watts)
Lt. Joseph Cable, United States Marine Corps
Capt. George Brackett, United States Navy
Cmdr. William Harbison, United States Navy
Lt. Buzz Adams
Yeoman Herbert Quale - sailor
Radio Operator Bob McCaffrey - sailor
2 Seabees (originally named Morton Wise and Richard West)
2 Sailors (originally named Tom O'Brien and James Hayes)
3 Marines (Originally named Sgt. Kenneth Johnson, Cpl. Hamilton Steeves and Staff Sgt. Thomas Hassinger)
A Shore Patrolman
Lead Nurse (originally named Lt. Genevieve Marshall)
Ensign Dinah Murphy
Ensign Janet MacGregor
7 Ensigns (originally named Connie Walewska, Bessie Noonan, Rita Adams, Lisa Minelli, Pamela Whitmore, Sue Yaeger and Cora MacRae)
Islanders, Nuns, Officers, Sailors, Marines, and Soldiers
SOUTH PACIFIC takes place on two islands in the South Pacific during World War II.
The Terrace of Emile de Becque's Plantation Home
Another Part of the Island
The Edge of a Palm Grove Near the Beach
The Company Street
Inside the Island Commander's Office
Inside a Native Hut on Bali Ha'i
Near the Beach on Bali Ha'i
A Performance of 'The Thanksgiving Follies'
Backstage at 'The Thanksgiving Follies'
The Radio Shack
Lincoln Center Theater’s acclaimed production of Rodgers & Hammerstein's SOUTH PACIFIC comes to Britain this summer.Read More
If you have recently received performance materials for SOUTH PACIFIC or THE KING AND I, you may have noticed that we are now offering our newly restored editions of these musical classics. Along with CAROUSEL and THE SOUND OF MUSIC, SOUTH PACIFIC and THE KING AND I (and next year’s OKLAHOMA!) join our list of bright, new, computer generated and user-friendly performance editions.Read More
Announced in London this morning was the exciting news that Hawaii's own Loretta Ables Sayre will re-create her Tony nominated performance as Bloody Mary when the 7-time Tony Award winning Lincoln Center Theater production of Rodgers & Hammerstein's SOUTH PACIFIC comes to Britain this summer.Read More
- Vector Title
Display customized, eye-catching banner ads to promote your production.
Don't worry about reshaping banners to fit different websites: This package already includes 4 standard banner sizes - vertical, horizontal, and rectangular.
Donât worry about optimizing the color format, size and resolution. These files are already optimized for online viewing.
Don't worry about needing a designer to convert static banners into rotating, animated ads. Weâve taken care of this for you! Text and video instructions are provided to help you animate your ads with ease â using free programs and apps.
Don't worry about needing fancy design programs â these flat .JPG files are ready to use with any free paint or photo editing program. Demos show you how to customize graphics with your theater's text.
- 160x600 - Wide Skyscraper
- 300x250 - Medium Rectangle
- 468x60 - Full Banner
- 728x90 â Leaderboard