Pacific 1860
Recently Updated
Exploring "Pacific 1860" on the West End
"Pacific 1860" is a lush, sentimental musical penned by Noël Coward, offering a slice of Victorian escapism set on the fictional Pacific island of Samolo. Premiering at the Theatre Royal Drury Lane on December 19, 1946, it holds the distinction of being the first show to grace that historic stage after World War II. Though it ran for just four months, closing on April 12, 1947, after 129 performances, the production starred the luminous Mary Martin and left an imprint as a charming, if fleeting, chapter in West End history.
A Romantic Tale in the Tropics
The story unfolds on Samolo, a serene British colony where the Stirling family’s tranquil life is upended by the arrival of Elena Salvador, a celebrated prima donna. Youngest son Kerry Stirling falls hard for her, igniting a romance that clashes with Victorian propriety and Elena’s career demands. Their love falters when her manager whisks her away, but a year later, she returns only to find Kerry at his brother’s wedding. In a tender twist, the lovers reunite, proving love can defy distance and duty in Coward’s tropical idyll.
Coward’s Creative Hand
Noël Coward wrote, composed, and directed "Pacific 1860," infusing it with his signature wit and melodic flair. The score, featuring waltzes like “Bright Was the Day” and playful numbers like “Uncle Harry,” reflects his knack for blending charm with sentimentality. Staged with designs by Gladys Calthrop and conducted by Mantovani, the production aimed to lift a war-weary public. Yet, despite its ambition and Mary Martin’s star power opposite Graham Payn, it struggled to resonate, earning a reputation as “Bitter Sweet” in a sunnier setting.
The West End Premiere
Opening just over a year after VE Day, "Pacific 1860" was a grand gesture of renewal for Drury Lane, produced by Prince Littler. Mary Martin shone as Elena, with Payn as Kerry and a cast including Maidie Andrews and Sylvia Cecil. Critics were mixed The Times found it pleasantly mild, while The Observer called it an “orgy of good taste” marred by dullness. The show’s lavishness couldn’t overcome its old-fashioned feel, and Littler abruptly ended its run, leaving Coward and his team strained but undeterred.
Musical Highlights and Vintage Charm
The score brims with Coward’s melodic finesse, from the romantic “My Horse Has Cast a Shoe” to the quirky “I Wish I Wasn’t Quite Such a Big Girl.” Recorded on 78 RPM discs, later transferred to CD, the sound quality disappoints murky and dated even for 1946 yet the songs retain a nostalgic allure. They paint Samolo as a sunlit fantasy, though the lack of a standout hit may have dimmed the show’s staying power.
A Faded Legacy
"Pacific 1860" didn’t achieve lasting fame, overshadowed by Coward’s sharper works. It never reached Broadway in his lifetime, though a 2003 Off-Broadway concert staging by York Theatre Company revived interest. Its brief West End tenure reflects a post-war appetite for lighter fare that it couldn’t fully satisfy. Still, it endures as a curiosity a heartfelt, if quaint, footnote in Coward’s oeuvre and Drury Lane’s storied legacy.
Why "Pacific 1860" Lingers
This musical charms with its unabashed romanticism and tropical veneer, offering a glimpse into a playwright stretching beyond his usual cynicism. For West End audiences of 1946, it was a hopeful return to theatre’s embrace, even if its gentle pace couldn’t compete with the era’s hunger for bolder thrills. Today, it’s a time capsule flawed, sweet, and unmistakably Coward.