Allsun O'Malley Photo by Boris Martin

I did not enter South Pacific completely at ease. I carried some trepidation about the show's dated racial attitudes, which led to fascinating conversations with my two teenage sons who attended with me–and initially looked horrified when the usher reminded us the runtime was nearly three hours (though it never felt that long). Together, we wrestled with the prejudices embedded in the story: Nellie Forbush's (Allsun O'Malley) hesitation to marry Emile after learning about his previous marriage and biracial children; and Lt. Cable's fear of building a future with Liat (Louisa Darr). My sons were particularly struck by "You've Got to Be Carefully Taught" and how boldly progressive it must have felt in 1949 to argue that racism is learned behavior. Even the production's casting choices sparked discussion, including the thoughtful decision to cast Joshua L. Green as Captain George Brackett despite the historical reality of military segregation during World War II. And then there were the moments that revealed just how much social expectations have changed over eighty years: Emile despairing he has "nothing to live for" without Nellie while seemingly forgetting the existence of his two children. Watching the show became less about judging the past and more about examining how culture evolves.

The fact that a three-hour long, 80-year-old show led me and two teens into such deep conversations is a testament to directors Devon Hayakawa and Trent Stork, who hope in their directors note that the audience takes more away from the show then just the beautiful music. That is a gift, too. It had been some time since I had been acquainted with South Pacific and immediately, we are thrust in the Kmiec's immersive set, looking out a beautiful linen curtain from the patio of a lush Pacific plantation, the island scenery vibrantly surrounding the stage behind in perfect perspective. Mike Tutaj's dynamic projections of changing Pacific seascapes add to the magic. The opening is fast paced, running through about five songs in quick succession, surprising me with its pace for a musical written in an era often associated with slower storytelling.

We are taken from Emile's plantation, where we learn he and Nellie have been involved in a fast romance, to the military base where we meet some supporting characters, including entrepreneur Bloody Mary, who makes a profit selling island tchotchkes to the service men, particularly Luther Billis (Matthew Michael Janisse). While Nellie wonders about a future with the very different Emile in a place very different from Little Rock, she muses with her friends about how she will wash that man right outta her hair in a delightfully staged scene involving actual running showers and enough infectious energy to light up the theater. Meanwhile, Lt. Cable has arrived with a secret and dangerous mission for which he needs Emile's help. Cable is also derailed by island love, but the second act sees the two men leave on their mission, and the realities of war hit home.

I have already praised the sets, costumes, and projections that enhance this show in a way that brilliantly transports the audience to a Pacific Island. During the famous "Bali Ha'i", I was mesmerized as the projection on the backdrop slowly transformed into a mysterious island setting that made me, too, want to sail there. Add to all of this the technical glory of Greg Hofmann's warm and lush lighting and it is hard not to imagine the warm tropical breeze blowing around you.

The talent I see on the Paramount stage is always Broadway caliber and this production is no exception. Archer's Emile has the loving sincerity of a man who has been alone for some time and has fallen quickly for the young American nurse, envisioning the vibrant future they could have together. And his beautiful, operatic voice seems to reach into the emotional core of the audience. I found myself tearing up as Emile forlornly croons "This Nearly Was Mine."

O'Malley's Nellie contrasts the steadfastness of Emile with a petite energy that carries throughout the show. Her optimism is catching at the beginning–ironic as a war is raging around her–and as O'Malley sings and dances her way through the show, we can see a transformation as she begins to weigh the initial "sweeping off the feet" emotions with the realities of the choices and sacrifices she will make to stay with Emile. I was impressed at the subtle yet clear character arc and growth of Nellie–an important addition in a show that can feel dated in its views of men/women relationships.

It was a challenge for Hayakawa and Stork to take what can be a dated show and make it a story that will resonate with modern audiences, but one of the ways this is accomplished is through the character of Bloody Mary. The director's note describes Bloody Mary (Cindy Chang) as the smartest person on the island. Chang plays the role masterfully and her Mary always has the upper hand on the dimwitted soldiers. Instead of functioning as a stereotypical comic figure as may have been played in the past, it is clear that Chang's Mary runs the island and is in control of every situation. Chang plays Mary with strength and cunning, helping the show feel relevant instead of stale.

The production is rounded out with the strength of the supporting characters. Maggio's Lt. Cable provides the naive and bullish confidence of a young soldier very much in lust with the beautiful Liat. Janisse's Luther provides the comic relief the show needs with just enough tenderness toward Nellie to provide some depth to his character. The ensemble of islanders, nurses, and soldiers helps to maintain the beauty and energy.

I am already someone who loves classic musicals, but even my 17-year-old son recognized the greatness of Paramount's South Pacific. Any show that can transport audiences to another time and place while also sparking meaningful conversations on the drive home is doing something special. Whether you adore Rodgers and Hammerstein or think three-hour Golden Age musicals are not for you, Paramount's South Pacific is a journey well worth taking.

South Pacific runs through June 14, 2026, at the Paramount Theatre, 8 E Galena Blvd., Aurora IL. For tickets and information, please visit paramountaurora.com/.