Some of evening enchanted: Goulet 'South Pacific' often enjoyable

Isn't it time for a fresh, thoughtful take on the Rodgers and Hammerstein classic, "South Pacific"?

A stirring rediscovery and re-evaluation of this wartime musical, in the manner of the revamp of R&H's "Carousel," and reworked "Flower Drum Song" headed for Broadway?

Yes. But reportedly the National Theatre's revisionist "South Pacific" in London last year did not fill the bill. And the touring edition of "South Pacific" at the Paramount Theatre doesn't even try to give the dated book a contemporary tilt.

Headlined by Robert Goulet, the Paramount edition is, however, highly professional, often enjoyable and at times a real pleasure. But it also sometimes challenges your ability to suspend disbelief.

For those unfamiliar with the long-popular 1949 tuner, it's based on the book "Tales of the South Pacific," by James A. Michener, and is set on a remote Pacific island during World War II.

Though in some ways a conventional comedy-romance, graced with memorable songs and threaded with patriotic fervor, "South Pacific" also probes American values by depicting the culture clashes some GIs faced abroad.

Goulet plays Emile de Becque, a wealthy, sophisticated French planter who falls in love with the ebullient, square young American nurse Nellie Forbush (Amanda Watkins).

Their affair is complicated by age and cultural gaps, but also racial bigotry. When Arkansas-bred Nellie learns that Emile lived with a Polynesian woman and fathered two mixed-race children, she is initially repelled.

Racism also infects the romance of Princeton-schooled officer Joe Cable (Lewis Cleale) and the pretty, native islander Liat (Kisha Howard) — brought together by Liat's crafty mother, local souvenir merchant Bloody Mary (Gretha Boston).

Staged by Scott Faris, the production unfolds smoothly in front of Derek McLane's tinted-postcard backdrops and gliding set pieces.

Though light on dance, it has an engaging clown-hustler in David Warshofsky's Brooklyn-accented Luther Billis, who leads the muscled-up Seabees in a lusty "There is Nothing Like a Dame" — with some amusing push-ups worked into Gary Chryst's choreography.

But the heart of the story is romance, and for that one must make some accommodations.

At 68, Goulet is still an ingratiating singer-actor who has clearly taken tender care of his trademark booming, baritone pipes.

But he moves stiffly enough to not let you forget he's several decades older than Watkins' perky Nellie. And he hedges on his big opening ballad, the galvanic "Some Enchanted Evening," clipping off phrases that should be sustained and omitting crucial high notes.

To convey the impression of vigor, he also gesticulates a lot. Yet by Act II, Goulet works up to a full-voiced treatment of the rueful ode, "This Nearly Was Mine." And he achieves a poignant dignity in Emile's military valor, and reunion with Nellie.

Goulet may be past prime for this role (he also played it in 1987), but you root for him. But Watkins doesn't always click as Nellie, either. Initially she has a brassy, Betty Grable-ish quality that's too hard-sell for a naïve hick. But Watkins also warms into her role, starting with the charming romp, "A Wonderful Guy."

No need to wait for the two main supporting players to come up to speed. Boston is a superb Bloody Mary from the jump. The opera-trained mezzo puts you in another zone with her deep, dreamy "Bali Ha'i."

And Cleale, a Broadway comer, looks and sounds great as the conflicted Joe. His high tenor soars effortlessly through "Younger Than Springtime" — a love song that can be a big drag or (as Cleale makes it) truly enchanting.

Misha Berson: mberson@seattletimes.com