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South Pacific
With Molly Smith, Kate Baldwin
and Richard White
Director and Actors
Friday, Jan. 10, 2003; 3 p.m. ET
"Some Enchanted Evening," "There Is Nothin' Like a Dame," and "I'm Gonna Wash That Man Right Out-A My Hair" are just some of the memorable songs in "South Pacific," the Rodgers and Hammerstein musical now playing at Arena Stage. The Washington venue honors the 60th anniversary of the composers' creative partnership and the centennial of Rodgers' birth on the Fichlandler Stage, now through Feb. 2.
"South Pacific is a masterpiece that captures an optimism, energy and naivete that is unquestionably American," said Arena Stage Artistic Director Molly Smith in a news release. "The characters are both comic and deep, and its songs and music are so much a part of our collective consciousness."
Smith, the show's director, will be online Friday, Jan. 10 at 3 p.m. ET, along with cast members Kate Baldwin who portrays Ensign Nellie Forbush, the Navy nurse who falls for heartthrob Emile de Becque, played by Richard White. All three will be here to engage in a roundtable discussion about this great American play.
Molly Smith is now in her fifth season as artistic director at Arena Stage and directed last season's "A Moon for the Misbegotten," the five-time Helen Hayes nominated "Agamemnon and His Daughters," as well as "The Great White Hope" and "Coyote Builds North America" for the 2000/01 50th anniversary season.
Kate Baldwin performed the music of Richard Rodgers for the Chicago Humanities Festival's annual gala before coming to Washington for "South Pacific." Broadway credits include "The Full Monty" and the original cast of "Thoroughly Modern Millie."
Best known as the voice of the villain Gaston in Disney's "Beauty and the Best," Richard White has also been seen on PBS's Great Performances as Robert Mission in "New Moon" and as Gaylord Ravenal in "Showboat." White made his Broadway debut as Joey in the revival of "The Most Happy Fella" and has appeared in New York revivals of "Brigadoon" and "South Pacific."
A transcript follows.
Editor's Note: Washingtonpost.com moderators retain editorial control over Live Online discussions and choose the most relevant questions for guests and hosts; guests and hosts can decline to answer questions.
Molly Smith, Kate Baldwin and Richard White: Hello--we're really happy to be here. This is Molly Smith, Kate Baldwin and Richard White ready and willing to answer your questions.
Alexandria, Va.:
I'm so pleased you're here today! I went to see the production on the Tuesday preview performance, the week before you opened. I loved both of your performances, and the production (which far exceeded my expectations of the work, which up until I saw it was an R&H show I didn't care for). This particular performance had a large group of junior-high aged students in the audience, who reacted differently than the usual adult audience -- one heard from them loudly and enthusiastically when they liked things and didn't like things, and they chattered amongst themselves when they were bored. Richard, I was particularly impressed with their rapt silence when you sang Some Enchanted Evening and This Nearly Was Mine -- it made me feel that high quality, straight singing speaks to everybody, even kids who aren't used to hearing it.
As performers, how do you react to different audiences, including the type of audience I was in?
Molly Smith, Kate Baldwin and Richard White: Kate here--In the round, the audience is as much a part of the production as the actors. The energy coming from the seats is palpable and appreciated--we listen to you as much as you listen to us--its true! No matter what age you are, the truths in this show are engaging. HS audiences are responsive to things adults wouldn't necessarily think are exciting. They have fresh eyes and are seeing SP for the first time.
Washington, D.C.:
I was arrested by the size of the actress who plays Liat. She's so very tiny and looks so very young. I found the love scene between Cable and Liat was more explicit, more troubling because of her child-like presence. How intentional was this? Could you see the potential as soon as you met this actress?
Molly Smith, Kate Baldwin and Richard White: Molly here. We were very interested in casting a young woman as Liat. I wanted to go for the realism of the situation in WWII--probably she would have been 15 or 16 and both she and Cable are virgins, in my opinion. Of course the woman playing Liat is much older than this--I won't blow her cover--she is ready to go to Law School next year. I like that this aspect of the relationship is troubling. Yes, I saw her potential immediately--we saw over 600 actors for the roles in this production both in NY and in Washington, DC.
New York, N.Y.:
For Kate and Richard: You've both worked on Broadway and around the country. How does working at Arena Stage compare to other places?
Molly Smith, Kate Baldwin and Richard White: This is Kate! I've loved my experience of working at Arena. Having worked at many regional theatres, I've found the most support and best environment for creating and re-creating this historical peice of theatre. The process here is very thorough and includes all cast members from the very beginning, as opposed to dividing "readings" between principals and ensemble. Its is an open, freeing place to work and this experience will remain one of my all-time favorites. I'd come back in a heatbeat.
Washington, D.C.:
Hello!!!
I really enjoyed the production! This question is for Molly. I read that this is the first large scale musical that you have directed at Arena. What made you choose a musical and why South Pacific?
Molly Smith, Kate Baldwin and Richard White: I first came into the theater as an audience member, a kid really, seeing a touring production of Robert Goulet in CAMELOT in Yakima Washington. I was completely sucked in and was hooked. For many years as a professional, I ran away from musicals believing they were not a serious art form--and of course, I was only going to do 'serious theatre'. How wrong I was; in a sense this production has been evolutionary for me as an artist--I've always known it is a subversive artform but with this experience I now know it in my bones. Expect more from me as a director as the years roll on--I'm only at the beginning of this exploration. Musical theatre is our truest American artform and SP could have only been created by Americans--so optimistic, so enthusiastic and charcters facing great obstacles. I have loved SP for years, knew it had not received a major revival--and with America on the brink of war and wresting with racial issues which is part of America's great wound, SP was an ideal choice. I haven't regretted it for a moment.
Washington, D.C.:
How did you tackle balancing the portrayal of overt racism with the more lighthearted aspects of the play?
Molly Smith, Kate Baldwin and Richard White: This is Kate. The message of this show is about racism. We had to point out the lesson of the show in Cable's song "You've got to be carefully taught," as well as Nellie's running away in the final scene of act one. The lightheartedness serves to draw the audience in, to make them in essence fall in love with the character of Nellie---only later on do we realize that her naivete carries with it racism that she didn't even know existed. As with most good dramas, there are only shades of grey---no one is all good or all bad. Each character has his or her flaws. Nellie learns the lesson of acceptance and sees beyond her small town upbringing to embrace a fuller world.
Sacramento, Calif.:
Richard,
Your voice is heavenly! Can you be heard on any CDs?
Molly Smith, Kate Baldwin and Richard White: Richard here -- Yes! Thank you...Maury Yeston/Arthur Kopit *Phantom* on RCA...the *Beauty and the Beast* Walt Disney...and actually there are about 18 different cds that are pirates!
Lyme, Conn.:
I have a question for Richard White. My grandmother used to have a radio show, and years after her show ended, people would recognize her voice and come up to her. Have have you found children recognizing Gaston's voice? If so, how do you handle it?
Molly Smith, Kate Baldwin and Richard White: Yeah, actually you do. It's very flattering...strangely enough, the human voice is one of the most recognizeable things in the world, which is why Disney rarely repeats voices.
Rockville, Md.:
Kate & Richard...You two have such great chemistry on stage. Have you worked together before?
Molly Smith, Kate Baldwin and Richard White: No, we've never worked together before! It's a credit to our brilliant acting :) that you find our chemistry appealing! (grin)
Washington, D.C.:
For Richard White:
Just want you to know that a bootleg copy of your performance in Showboat at the Papermill Playhouse resides in a place of honor in our house. Our son, age 16, has relied on it for a number of years when he needs to chill out from his over-scheduled life. I think he wants to be you some day. . . Thank you for your marvelous performance and hope to catch you at Arena.
Molly Smith, Kate Baldwin and Richard White: Thanks so very much...I'm quite flattered.
Alexandria, Va.:
Why does Nellie make such a face when she sings the word "Jello?"
Loved the show -- brought back my childhood. Great cast.
Molly Smith, Kate Baldwin and Richard White: Hmmmm. I guess the way the notes are written require a silly delivery?! Richard: "Her face just does that naturally when she says that word!"
Washington, D.C.:
Great show, so well done, and the Sea Bees are so distractingly good looking! Thanks.
Molly Smith, Kate Baldwin and Richard White: Molly -- The guys will be very happy to hear this. We think they're gorgeous, too!
Washington, D.C.:
This is for Kate -- Like you, I'm a Northwestern alum (Class of '82), and I well remember the great student productions at NU. Were you in a lot of them? (Were you in Waa-Mu?) I'm interested to know how much your NU acting training and experience has helped you in your career.
Molly Smith, Kate Baldwin and Richard White: In my NU career, I was in 17 shows...roughly 4 or 5 a year. I survived on caffeine and sweat...and still made it to classes! I participated in WAA-MU one year. The rest of the time I stuck to student-directed plays. The training I received there is absolutely present on stage with me every night. Richard -- "she keeps it in a small, purple bag"
Arlington, Va.:
I saw the production at last Tuesday's matinee and loved it. My questions are, as director, do you attend every performance, and if not, is there someone else filling in as director? Also, once a play is being performed on a regular basis, does the director continue to modify the production or offer constructive criticism?
Molly Smith, Kate Baldwin and Richard White: Yes...I come back in once every 10 days...however, we have a brilliant stage manager, Susan White, who is the goddess of the theater. She runs the show and maintains the performances.
Silver Spring, Md.:
When Mary Martin was on Broadway in SP, much was made of the kind of shampoo she used "every night" and twice on matinee days. What kind of shampoo do you use, Kate, and Molly, have you tried to make any money off this?
(Four of us really enjoyed the show during preview week.)
Molly Smith, Kate Baldwin and Richard White: Pantene Pro-V all in one. Shampoo and conditioner. And it's causing my costume to run! But it sure smells good.
Upper Marlboro, Md.:
I was amazed at the quality of the performance I saw on Dec 14! I didn't expect so much in such a small space and it goes to show that the set is not foremost in a production.
The cast was as brilliant as the movie version.
My Question: What is the thinking process when producing major epics in such a small space. Do you first think of superior actors? What next?
Thanks for an enthralling Saturday matinee.
Molly Smith, Kate Baldwin and Richard White: Richard - -SP is not about spectacle or scenery...it's about people; therefore, space is not a large consideration. We think the drama of SP plays very well on a small, bare stage.
Buffalo, N.Y.:
Over thirty years ago I acted as Joe Cable in a high school production of South Pacific. Many fond memories, to be sure. One question about the Luther Billis character -- our version had him as a more jolly, fun-loving wise guy than as a conniving, keep-an-eye-on-your-wallet type. How do you plan on portraying him?
Molly Smith, Kate Baldwin and Richard White: Thanks for your question! You'll have to come and see Mr. Billis for yourself...we're on stage until Feb. 2. Lawrence Redmond is terrific in this role...and actually, you can hear him on the cd of *Guys and Dolls*, most recently nominated for a Grammy Award!! He's really great.
New York, N.Y.:
I'm happily surprised that Arena is finally "bending" its standards enough to do a R&H musical. I used to work at Arena Stage in the early '90s and remember being haughtily informed they'd never do any R&H -- the clear implication (I don't remember exactly how it was worded) that they looked down on such popular fare. Nice to see they've pulled that stick out ... especially since the musical is a homegrown American art form. "South Pacific" is a wonderful show and can certainly benefit from a modern examination.
Molly Smith, Kate Baldwin and Richard White: Richard -- we're very pleased to announce that Molly has discovered a new muse. Kate -- she's born to direct musicals! Richard -- We hope there'll be many more. Molly -- For many years, Arena's focus was world literature. Since I became Artistic Director 4-1/2 years ago, I changed the focus to American plays, American voices. What is more American than musicals?
Virginia:
It seems like you aren't taking any negative questions, but here goes. I saw the show and was VERY uncomfortable with all of the sexual overtures. The drugged sex scene was pretty soft core porn and too much thrusting throughout the show. Otherwise enjoyed it, but can see why it is so rarely staged (too time bound). THANKS!
Molly Smith, Kate Baldwin and Richard White: Molly -- In the middle of any intense time, like war, sexuality is hot; it becomes driven. We didn't want to turn away from the human need for sexuality in the midst of death.
Charlottesville, Va.:
The two overriding themes in SP are war and racism in 1940's America. Isn't it interesting that your current production is taking place at a time when our attention is once again focused on these two themes (Trent Lott and Iraq/Korea)? Just goes to show the timelessness of this musical.
Molly Smith, Kate Baldwin and Richard White: Amen! Isn't it funny how history repeats itself.
Washington, D.C.:
Loved the production. Really transported me to another place and time. Do you know in what ways the show South Pacific differs from Michener's Tales of the South Pacific? Also, for Kate and Richard, what research did you do to prepare for your roles?
Molly Smith, Kate Baldwin and Richard White: Richard -- In preparation for de Becque, I read the Michener. It provides a basis for the character and for the time and place of the play. The musical concerns itself primarily with 3 of the 22 stories. Some of the characters are conglomorations, but the essence of the people and the period hopefully comes through. Molly -- read it, it's a great book! Kate -- A very respected author who traveled to the South Pacific Richard -- SErved int he SP as a supply officer. Kate -- It won the Pulitzer Prize. All three - READ IT!
Washington, D.C.:
How did you have to alter your performances for a theater in the round?
Molly Smith, Kate Baldwin and Richard White: Kate -- Keep moving...do everything four times! Richard -- The round offers the advantage of intimacy that you can't find anywhere else; however, you have to get used to the fact that your back is to someone at all times. Kate -- and your back isn't as pretty as your face! Richard -- speak for yourself!
Washington, D.C.:
More a question about the theater ... as a 24-year-old in D.C., I still struggle to pay the rent, much less theater tickets! Does Arena have any discounted same-day ticket programs, or anything of the like, for those of us who love theater, but can't shell out 75 dollars?
Molly Smith, Kate Baldwin and Richard White: Molly -- Thank you for asking this! Why yes, we've got a special ticketing program called FiveTwentyFive that is designed for people aged 5-25. The tickets are only $10! We also have 1/2 price tickets every day beginning at 5:25 for anybody...first come, first served.
Harrisburg, Pa.:
It is great that audiences still respond to revivals of great plays. In this era of creative battles to present something audiences have never seen, it is refreshing to know that sometimes audiences can see adaptations of something with which we are familiar. What do each of you think audiences are seeking these days?
Molly Smith, Kate Baldwin and Richard White: Kate: As an artist we're only interested in presenting good, dramatic stories with a point of view and entertaining. I think it is a mistake to pander to an audience and that audiences are much smarter than we give them credit for. If you set the bar high, the audiences will follow and respond. SP is one of the greatest musicals ever written and stands the test of time. We're dealing with the same issues in contemporary life that are presented in the show. It makes me mad when people say something is dated.
W.Berlin, N.J.:
Hi Richard!
Couldn't resist poping in to say hello. Two questions: Since you've done the voice of Gaston for Disney, have you ever wanted/or been offered to play him on Bd'w?
I so enjoyed your Jonathan Brewster at Bristol's "Arsenic and Old Lace". Very creepy! What kind of roles do you enjoy the most?
Your favorite "24601" sends his best. We are doing some things together and hope to see you in concert sometime.
Enjoy South Pacific!
Molly Smith, Kate Baldwin and Richard White: Thanks, 24601. Look forward to seeing you soon.
Washington, D.C.:
I was entranced by your production of South Pacific. It had wonderful acting, singing and dancing and the pacing was perfect. I am happy you decided to include "My Girl Back Home" from the movie, as it is the only song that bridges the two characters, Nelly and Lt. Cable, whose common backgrounds create the conflict in their relationships. I realized that Emile's fascination with Nelly is that she is as exotic to him (his first American lover) as he is to her. Any other musicals planned, Molly?
Molly Smith, Kate Baldwin and Richard White: "My Girl Back Home" was cut by R&H during the out-of-town run. It did not originate with the movie. Though you can hear Mary Martin sing the song (solo) on the original cast recording as a bonus.
Virginia:
Love the show! What kind of research did you and the other actors do into the time period, the geography, the war itself, to get ready for the production?
Molly Smith, Kate Baldwin and Richard White: Our wonderful dramaturg Michelle Hall brought in 3 WWII veterans to speak with the cast early in the rehearsal process. They told us wonderful stories about their experiences and supplied us with the optimistic, American, can-do attitude that launches the beginning of SP into the war.
Washington, D.C.:
For Richard White --
I've tried to describe how wonderful your voice is. I tell people that your voice is so full it sounds like you're singing from your toes! What a wonderful experience to hear you sing!
Molly Smith, Kate Baldwin and Richard White: Thanks! Tell everyone you know. :)
Washington, D.C.:
I attended the sign language-interpreted performance and wanted to let you know that Hank Young and Krista Walker did an outstanding job. Hank was able to show us how strong Richard's was and Krista was charming. Thanks for a wonderful evening.
Molly Smith, Kate Baldwin and Richard White: Richard: I think that sign interpreted performances are a wonderful addition to a live performance experience. I'm so glad you enjoyed it.
Molly Smith, Kate Baldwin and Richard White: Thanks for all of your great questions! It's been a great pleasure hearing from you all.
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