Conscientious Objector Comparisons of ëSouth Pacificí Issues With Todayís Donít Jibe by Lisa Troshinsky How relevant is Arena Stageís current production of war-time ìSouth Pacificî for todayís audience, which is mired in threats of another war on the horizon? The quintessential Rodgers and Hammerstein musical, currently in the round at Arenaís Fichandler Stage, is set on an island during World War II. With todayís front-page headlines consumed by an inevitable war with Iraq, Arenaís choice to produce this play at this time is apropos. ìD.C. is an island culture, is in the middle of the Beltway, war is building up all around us,î said Arenaís artistic director Molly Smith at one of her traditional ìMollyís Salonî discussions where she brings together cast and crew representatives for a question-and-answer period with theater-goers. ìThis [South Pacific] couldnít be more about the present moment.î But for this patron, this is where the war analogy ends. It is absurd to compare the 1940s characterization of exuberant optimism and naivetÈófound in well-known tunes such as ìIím Gonna Wash That Man Right Out of My Hair,î ìThereís Nothing Like a Dameî and ìSome Enchanted Eveningîówith todayís overwhelming sentiments of cynicism and fear. In fact, to presume a proper comparison could be taken as a trivialization of what the American public has endured since 9/11. The characters and music in ìSouth Pacificî were created right after the United States won WWII and was entering a time of peace and prosperity. Todayís world is one of terrorism, paranoia, weapons of mass destruction and joblessness. For some, seeing ìSouth Pacificî may serve as a welcome escape, but for this theater-goer, its stark contrast to todayís sensibilities only tapped into a deeper feeling of helplessness. The playís main character, Navy Nurse Nellie Forbush, is a young woman straight from Little Rock, Ark., thrust onto an island in the South Pacific as a Navy nurse. She describes herself in her first solo as ìA Cockeyed Romanticîówell crooned by perky Northeastern graduate Kate Baldwinóto intentioned sweetheart Emile de Becque, a French island civilian, played by the seasoned and talented Richard White, best known to audiences as the voice of the villain Gaston in Disneyís ìBeauty and the Beast.î Although she is told the world is falling down around her, Forbush claims she canít help but remain hopeful, an idealist, a romanticist. Though she later struggles with her inbred racism when confronted with de Becqueís racially mixed children from his former Polynesian wifeóa gutsy subject to be tackled in the 1940sóshe even bounces back from that by the end of the play to reclaim her man. Of course, her Pollyannaism is given some poetic license inherent to the fiction of musicals. Yet, some moments of the musical ring true for todayís worldóespecially when de Becque, the peace-loving expatriate, condemns the warmonger ideals of Navy Capt. George Brackett, who is trying to coerce him into a dangerous military mission. ìYouíre against the Japs, but what are you for?î asks de Becque. The captain and his assistant answered him with silence. And unfortunately, the playís racismódisplayed by Forbushís hesitancy to wed de Becque and Lt. Joseph Cableís refusal to marry the Tonkinese Liatóthough expressed way before its time and the Civil Rights movement, still rings true today. Even the island of ìBali Haíi,î the forbidden wonderland in which Cable falls in love with Liat, isnít a true refuge from prejudice. Soap opera veteran Brad Anderson, who sang ìMr. Bojanglesî and was a featured dancer in Broadwayís ìFosse,î does justice to the young and handsome Cable, while the slight Liz Paw, who played the role of Kim in both the Broadway and National Tour companies of ìMiss Saigon,î complements him well as Liat. The playís musical hits, crowd-pleasers and old favorites are sung with expertise by the castís accomplished and highly trained vocalists. The up-tempo tunes are enthusiastic and the ballads hold subtlety and grace, but the scriptís conversation and dancing pale in comparison. Although ìSouth Pacificî is clearly not a ìdance show,î prime movement opportunities were clearly missed by choreographer Baayork Lee and director Smith. Most of the choreography is predictable and under-danced by a cast that is clearly singers, not dancers. And much of the stage movement is pedestrian. At times, the characters merely paced up and down the stage in straight lines. This is clearly not Leeís best work, who also choreographed the innovative dance numbers in Arenaís ìAnimal Crackersî in the 1998-99 season, and is well known for creating the role of Connie in ìA Chorus Line.î But some leeway must be given to Smith, who usually directs dramas and new works. This is her first stab at directing a musical. Though much of the playís conversation often dragged, Lori Tan Chinn, who plays the feisty island native Bloody Mary, mother to Liat, brings the play alive with extraordinary comic timing. Chinn was last seen in Washington, D.C.ís pre-Broadway production of ìM. Butterflyî at the National Theatre. Set designer Kate Edmunds creates an eye-pleasing, tranquil, exotic environment with a lush green-patterned floor, mammoth palm trees overhead, ornamental red bougainvilleas languidly hanging from the ceiling, and birds chirpingónot an unwelcome atmosphere for a wintry night in January. ìSouth Pacificî runs through Feb. 2 at the Arena Stage, 1101 6th St., SW. For more information or tickets, please call (202) 488-3300 or visit www.arenastage.org. Lisa Troshinsky is a freelance writer in Washington, D.C.