"South Pacific": the Saved for Posterity Version
Every once in a while, I note that a video is a real treasure. Add one more to that list. This is a real treasure.
A while back, I posted what were very special, videos – extended clips from the original London production that opened in 1951 of the musical South Pacific that starred Mary Martin, who of course created the role of ‘Ensign Nellie Forbush’ on Broadway two years earlier. Well, this ups that – it turns out that, unlike what I thought at the time, there aren’t just those lengthy clips, but they came from a film of the entire production!
Yes, this is a 2-1/2 hour video of a film taken of the show as it was being done live. And it’s not a hidden, horrible-quality film that someone sneaked to make, but as you can see from the opening, it’s something that was made officially. It notes that it was filmed at “a special performance given on May 6th, 1952.” It adds that (at least at the time) the film is the personal property of Richard Rodgers and Oscar Hammerstein II. And even has opening credits, including “A Stanley Schofield Production.”
Starring opposite Mary Martin is Wilbur Evans as ‘Emile de Becque.’ He had a fairly long career, and even was in the original run of Man of La Mancha (though a replacement) as ‘The Innkeeper,’ and then played the role on the National Tour. Two other performers in this filmed production are worth mentioning. The role of ‘Bloody Mary’ (who sings “Bali Hai” and “Happy Talk”) is played by Muriel Smith – who dubbed the voice for the role in the movie version of the show. (Richard Rodgers apparently preferred her singing to Juanita Hall, who was not only a solid singer in many Broadway musicals, but even created the role of ‘Bloody Mary’ in the original Broadway production and later played the mother in both the original Broadway production and movie of Rodgers & Hammerstein’s Flower Drum Song.)
The other actor of note, though in a very small role, that of ‘Yeoman Herbert Quale,’ one of the Seabees, was played by Mary Martin’s son – Larry Hagman.
This is not filmed like “a movie,” and most of it is done in wide shots, though close enough that you can see the actors well. And also, there are many medium shots intercut through, so it’s not like watching the production from afar. The image isn’t crisp, but very watchable. And though the audio is thin, it’s fully clear. And it’s all a joy, and joyous theater history. I suspect that with technology today, this could be “cleaned up” quite a bit, though I doubt it ever will be. No matter, this is wonderful.
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