THEATER : Time to Wash ‘Pacific’ Out-a O.C.’s Hair

Is it possible that Orange County theatergoers can’t get enough of “South Pacific,” that old musical coconut from Rodgers and Hammerstein about a bunch of Navy nurses and Seabees stuck on a Polynesian island during World War II?

The show was revived in 1987 at the Forum Theater in Yorba Linda, with Broadway veteran John Raitt in the starring role originated by Ezio Pinza, and was revived again the following year in Costa Mesa at the Orange County Performing Arts Center, when a national touring version stopped by just long enough for Robert Goulet to demonstrate his steely pipes.

Now, in the apparent belief that four years without a major production of “South Pacific” constitutes a form of theatrical deprivation, Fullerton Civic Light Opera has come to our rescue with yet another revival. It opened over the weekend at Plummer Auditorium here, with--you guessed it--John Raitt.

The last time Raitt played the role of the debonair Frenchman Emile de Becque--a wealthy, middle-aged mystery man who falls in love with Ensign Nellie Forbush, a young Navy nurse from Little Rock, Ark.--a Times reviewer said his voice was strong but his overall performance was a disappointing walk-through.

This time he doesn’t even manage that, his Frenchified accent notwithstanding. Raitt more or less totters, like the leaning tower of Pinza. Even in the make-believe world of “South Pacific,” where romance is conjured at a moment’s notice and exotic fantasy is the stuff of reality, it is difficult to fathom the dashing charm of a spindly legged septuagenarian with a potbelly and a crown of snow-white hair.

When Raitt starred in the musical “Zorba” two seasons ago for Fullerton CLO, his age already had begun to show. But at least it could be turned to advantage in a title role that made a virtue of being old. “Zorba” involved a late-blooming affair between a lusty geezer and an ancient coquette, after all.

If you can turn a blind eye to Raitt’s youthful pretense and focus on Alyson Reed--his co-star in the role of Nellie, which Mary Martin originated in the 1949 Broadway production--then this “South Pacific” is a lot crisper, fresher and more enjoyable than it has any right to be.

Reed delivers a first-class performance, bright with energy and good humor, yet not overly perky. From start to finish, in a show that tends to wear you down with hokey plot contrivances and what now seems like a bogus concern with racism, she keeps you entertained. Her singing is polished, her dancing sufficiently deft when called upon to suggest carefree abandon, and her characterization of a naive young woman from America’s heartland is persuasive.

Reed also gets personable support from a well-cast male chorus led by Tom Blank, who shines with a comic performance as chief Seabee Luther Billis. He combines brisk, Sgt. Bilko-style salvos with his own warmer brand of slapstick. (The cast was heavy with Orange Countians, including Santa Ana-born Raitt, former Anaheim resident Reed and Fullerton College teacher Blank).

As for the other featured players, Kurt Kovalenko is the most notable as Lt. Cable, the young naval officer who has arrived on the island with a secret mission to track Japanese warships. Kovalenko’s innocent good looks are right for the part, but his real calling card is a rich operatic tenor voice. (He may have skill as an actor as well, but that seems to dissolve after a first, nicely turned scene.)

Jeanne Leytus rounds out the cast of principal singers with a serviceable portrayal of Bloody Mary, a dealer in grass skirts whose neighboring island of Bali Ha’i provides all the Seabees, but chiefly Luther Billis, with fantasies of sexy native rituals.

In the non-singing role of Captain Bracket, Richard Clave turns out to be a musical-comedy version of Clark Gable. (He’s an uncanny look- and sound-alike.) In the non-singing, non-talking role of Liat--Bloody Mary’s daughter and Lt. Cable’s love interest--Akemi Welsh gestures gracefully with her hands.

It is the lush “South Pacific” score that counts most, of course, and not the outdated story with its awkward messages or its period atmosphere.

Musical director Benton Minor gets a lively sound from the 25-piece orchestra (though the strings are overpowered by the brass). Sha Newman’s choreography fits the show. Donna Ruzika’s lighting works, as do the sets furnished by San Bernardino Civic Light Opera. Even the set changes are finessed without any fuss.

But the question remains: Hasn’t everybody had enough of “South Pacific” to last another couple of generations before it’s brought back again?

‘South Pacific’ John Raitt: Emile de Becque Alyson Reed: Ens. Nellie Forbush Tom Blank: Luther Billis Jeanne Leytus: Bloody Mary Kurt Kovalenko: Lt. Joseph Cable Richard Clave: Capt. George Brackett Akemi Welsh: Liat Ron Graham: Comdr. William Harbison

A Fullerton Civic Light Opera production. Music by Richard Rodgers. Lyrics by Oscar Hammerstein II. Book by Hammerstein and Joshua Logan. Adapted from James Michener’s “Tales of the South Pacific.” Directed by Jan Duncan. Musical director and conductor Benton Minor. Choreography by Sha Newman. Lighting by Donna Ruzika. Costumes designed by Edith Melcher. Set from San Bernardino Civic Light Opera. Continues through Nov. 3 at Plummer Auditorium, 201 E. Chapman Ave., Fullerton. Performances are Thursday to Saturday at 8 p.m.; Sunday at 2 p.m. and 7 p.m. (except no 7 p.m. performance on Nov. 3). Tickets: $12 to $24. Information: (714) 879-1732.