but Bart Sher’s SOUTH PACIFIC was amazing–incredibly well done in almost every feature. I could only find one thing to nit-pick, instead of my usual fifty. This is very like someone being like “Wow, that John Updike! Not bad!” The production got so much acclaim when it ran, when it opened, when it got the Tony, that I’m rather late to the praise party. But for whatever it’s worth, we liked it too.
It’s still not a show I could ever want to imagine myself directing. No matter how much context you give everything, Bloody Mary’s dialect lines still rub me the wrong way. It’s uncomfortable to listen to and watch, and as much as a production tries to save her from being a stereotype (and this production really tried) she still comes off as a very limited stereotype. There are other characters in the script who are much more fully realized. She’s the one who makes the whole thing seem like a period piece.
But the music is beautiful.
I touch your hand and my arms grow strong…
Afterwards, dinner at bowling lanes in Timonium. I did not bowl, due to still being a bit sore from having fallen down the stairs on Thursday. But I watched my friends bowl. In one game–the last one–one of them made six strikes, and all three of them bowled at least one strike. It felt like a lucky day. On the way home, we sang the chorus from “Living On A Prayer” a cappella in the car, and two different versions of “Round and Round” at the same time.
This was also the weekend of the Hollywood Performance Marathon at Theatre of NOTE in Los Angeles, on Saturday. I hear it went well; I wish I could have been there. But there are reasons for me to be here, and things to be done here, too.