D: First of all, I would have to say it is arguably the best Broadway Americana, Iconic show ever written. I mean, think about it. “The King and I” is incredible. And “Carousel” was incredible. And Oklahoma was incredible. Even shows written later, you know “Sweeny ToSdd,” or “Evita,” or “The Wiz.” I can go on and on. All of these shows. But the one thing about this show, that Rodgers & Hammerstein got so right, was that every single song is at a veritable pop hit in its day. From “There Is Nothing Like a Dame” to “Bloody Mary,” to “I’m Gonna Wash That Man Right Outta My Hair,” to “Twin Soliloquies,” to “Some Enchanted Evening” which opens the show, to “A Cockeyed Optimist” to “This Nearly Was Mine” to “Younger than Spring Time.” These are pieces that every artist of the day then, and even today, records out of context because they are so iconic. Each one is a hit in its own right. So in the show, not only are the stakes very high emotionally for the characters, the stakes are very high for the performers. Because so many people have interpreted these parts, and done them so well, because it is so well written. To my ear, I would stand this up against any of the Mozart operas, in that it is written so beautifully and orchestrated so beautifully with a full orchestra.
After the movie came out, with the voice of Giorgio Tozzi being lip sung by Rossano Brazzi, and Mitzi Gaynor doing the Nellie Forbush part, it took time for the show to come back. Sometimes revivals are done too soon, and this seemed like the perfect time. And the perfect director. The relevance of the fact that we have a president now that would have been unthinkable years ago, that we have a black president. Or the fact that we still have issues with race, or that we are a country at war and with great economic difficulties right now. All of these things we are experiencing now, we experiences then and got through them. Our country was at its best. Tom Brokaw called it the “the greatest generation,” that fought in World War 2, and what they gave. The baby boomer generation, and my generation – generation x.
It’s all really, really relevant and amazing. I think it all has to do with timing. To be able to have spoken about this and work some things through not just with our director Bartlett Sher, and really find the back-story of this character and researched it. But to be able to talk to Mary Rodgers, the daughter of Richard Rogers, and Alice Hammerstein, the daughter of Oscar Hammerstein II – is just one of the greatest gifts that a performer can have. They help to assimilate the style and find your way in to the character – both musically and dramatically.
So in short, it’s all about timing. It was the right time to do this revival.
K: What is one of your favorite parts about being in “South Pacific?”
D: In an overall picture, I would have to say its how much life you live in 3 hours doing the show. It goes by so quickly, and it’s so intense. The feelings that you feel, the feelings that I feel for my colleagues are very real. I mean, I get to fall in love every single night, and I’ve had 8 or 9 different Nellies between Broadway and the tour. Every single one of them has been incredible, and it’s been a great gift to me. And certainly Carmen Cusack, the one that I’m performing with right now, I’ve developed a huge respect and affection for. So from the very first scene, and singing “Some Enchanted Evening,” I can remember our music director Ted Spurling saying, “Remember, this isn’t about vocal showboating. This is about honesty. Everything that you do vocally and musically has to come from an honest place. And you have to remember the period, and how you felt and try to find the parallels. Remember how you felt on 9/11, and where were you, and what country were you in? How does that affect the moment now?” You have to bring everything that you’ve got in your life to the part.
You know, it’s those opening chords every single night I’ve done this. I’ve done over 400 performances of this piece now, between Broadway and the tour. Every night when that orchestra starts, I’m just ready to go. I can’t wait to get out there. It’s a new audience; every performance is a little bit different. And so the moments are often changing. Sometimes that first scene is so important for the rest of the show, that if it really feels right everything takes over your emotions. And allows you to live that big, 3 hour life. And as I said, you just live a lot of life in 3 hours. And that’s my favorite thing. To do it like therapy – you get out there and live big.
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This reads as if David Pittsinger had transitioned from starring in this role on Broadway to touring in the part, but Paulo Szot originated the role in the revival, won a Tony and a bunch of other awards for the role, starred in the wonderful televised version that just aired on PBS and sang on the original cast CD (great CD). I've read that David Pittsinger was one of a couple of replacements for Szot when he was off and IBDb.com describes him that way: http://ibdb.com/production.php?id=463981
http://ibdb.com/person.php?id=481768 Apparently Szot mainly played the role on Broadway from its opening in April 2008 until it closed in August 2010 but when he took time off for other commitments, Pittsinger replaced him. And per the tour site, Rod Gilfrey toured in it first. Maybe this is a PR thing, I'm sure David Pittsinger is great in the role, but people seeing the tour will not be seeing the performer known for playing the role on Broadway.
And gee, a lot of typos in this article.