Academic Master


South Pacific Song By Rodgers And Hammerstein

Andrea Most writes, “The success of South Pacific requires some investigation” (156). Do you think the success of the musical had to do with its reinforcement, rather than disruption, of a familiar set of genetic codes? Refer to the Cable/Liat relationship and, in particular, the mute character of Liat in your answer.

The success of the ‘’South Pacific’’ song by Rodgers and Hammerstein is genuine. Rodgers and Hammerstein, in the song production, introduced characters like Emile, who is a non-racist, and Cable, who is a racist. They fight their way to the top despite inciting from many people. People dislike this song, and they advise Rodgers and Hammerstein to keep the South Pacific aside. The ‘South Pacific’ song encourages marriages of people with different skin colors. People like David C. Jones were against this song, citing it as a threat to American culture. The Cable went without any comment and did not fight for his song to become at the top (Most and Andrea, 325). The song praises people of different colors (blacks) on how they endure hardships courageously and advocates for them to be treated well. The song also encourages blacks and whites to date, thus cutting off ethnical differences. Legislators of Georgia dislike the song, and it causes a commotion during its production show that is taking place in Atlanta. Georgia legislators also drafted a bill to eradicate the song, and they say it is a political idea for another country that is an enemy of America. Rodgers and Hammerstein’s aim was to make South Pacific more successful than Oklahoma, which was produced in 1943, and Course, which was produced in 1945. On stage, these characters demonstrated how people of different colors and ethnicities are treated in America. Through stage acting, they make people realize having an education and love in an era of discrimination will go away (Most and Andrea, 337). Demonstrations help people to understand that they are equal and the same. The only different thing is their skin color. Legislators and state representatives trying to eradicate the South Pacific didn’t succeed as it rose to the top. During World War 2, the black and other ethnic group’s discrimination stood at the top. Accepting other people helps a country maintain peace. Conflict brings chaos among people, and the fellow countries that are enemies use it as bait to accomplish victory. Rodgers and Hammerstein show state officials that they should stop discriminating against people and bring harmony. Music and films reach out to many people through radios, thus bringing peace; people love to listen to music and record messages.

Examine the character of Emile, the French planter, a foreigner with two children from a Polynesian woman (an absent character). Consider the historical context John Bush Jones provides in “Broadway and the War” and the analysis Andrea Most offers in “You’ve Got to Be Carefully Taught.”

Emile is brought in by Rodgers and Hammerstein to play the role of non-racist in the production of South Pacific. Emile demonstrates courageousness by talking back to Cable in a firm voice and stating that she is staying in the country no matter what happens (John and Jones. 2003). Through previous marriage to a foreigner, Emile indicates that he is not a discriminator based on ethnicity and color. Emile is a humble person, as despite being young and educated, he chooses to get married to a person of a different ethnic group. Acting with a lot of passion shows he is a loving person. Emile shows he is a forgiving person by accepting Nellie’s engagement after she breaks it off. Nellie breaks the engagement on the realization that Emile has children from another person. Emile is demonstrated as a selfless person willing to fight for his fellow countrymen and women (Most and Andrea, 307).

Works Cited

Jones, John Bush. “World War II and The Rodgers and Hammerstein Years.” (2003).

Most, Andrea. “” You’ve Got to Be Carefully Taught”: The Politics of Race in Rodgers and Hammerstein’s South Pacific.” Theatre Journal 52.3 (2000): 307-337.



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