Two trips to New York during the Lincoln Center run of South Pacific and I could never get a ticket. That’s often my problem because when you travel on business you can rarely plan ahead far enough to score good seats to a sold out performance unless you have friends in very high places. I told myself I’d wait until the national tour came to San Francisco. The wait was worth it.

I had no idea when I was trying to salve my disappointment that Braden Toan would sign on as Associate Conductor so I would not only have a chance to see this marvelous production and incredible cast but I would get to watch a good friend conduct. That by the way is a bittersweet announcement because it means that Braden won’t be available to be with us this summer but that’s really celebrating what we’re all about. “Promoting and Developing the Growth of Artists.” We want our faculty to be working professionals and the beauty of it is that our circle of master teachers just grows as our teaching artists work. Braden will be replaced this year by an equally qualified and accomplished musical director. Watch for the announcement!

Back to Braden and South Pacific. Wonderful, wonderful, wonderful. Listening to the talented, mostly local, full orchestra under Braden’s deft baton, playing a score that is almost operatic in its scope, was a rare treat in this day of pared down orchestras.

Talented was the word of the day. That’s the next “wonderful.” Each and every actor brought James Michner’s original story adapted by Oscar Hammerstein and Joshua Logan to life. Revivals are hard. Comparisons are normal but this musical stands its test of time and each of these actors stands on his own. Carmen Cusack is a charming Ensign Nellie Forbush and Rod Gilfry makes you forget that anyone else ever played Emile de Becque.

I had met Keala Settle the day before when Braden, Craig and I had breakfast. We did some “talk story” about the good old days on the North Shore of Oahu so I was more than curious to see her performance as Bloody Mary. Wow! She made me laugh and she made me cry. I believed her and I understood what she wanted to do for her daughter. Sumie Maeda was a charmer as Liat. She looks and acts 14 on stage and it was a surprise to see her leave the theater later and realize that she was truly a grown woman.

I could go on and on but this isn’t meant to be a review. Just a little talk about an escape to a south sea island. I certainly wasn’t disappointed and I don’t think you will be either. If this production comes to your city make sure you get a ticket. You won’t be disappointed either.

Sometime in 2007 I spotted a newspaper article that announced that Tracy Letts had written a new play for Steppenwolf Theatre Company. I filed it away in my head thinking that I’d have to remember to look for the reviews. I have admired Letts’ work since I first read “Killer Joe.” He’s a great storyteller and uses words like a skilled surgeon. I did see the review. The play: August: Osage County. The Chicago press LOVED it and I remember thinking, “That plays going to Broadway!” That play not only went to Broadway but it claimed a Pulitzer Prize and five Tony Awards on the way.

Over the past two years every time a friend told me they were going to NYC I immediately recommended that they get tickets to see August: Osage County. Every time they did I would get a phone call telling me how fantastic the play is. One friend of mine, a produced playwright no longer living in New York, went to see it on my recommendation and told me it was the best play he’d seen in 10 years! But I hadn’t seen it. Not for lack of trying, I can assure you. On three trips to New York over the past two years and one trip to London I scored a big fat zero in coming up with tickets. Last night was different.

It was my husband’s and my anniversary and without warning our eldest daughter sent us two tickets. Truthfully, as much as I wanted to see this play I had a few misgivings about spending more than three hours with a family that has been described as one step below dysfunctional on our anniversary but there was no way we could, or would, pass up this opportunity and gift.

This blog is not intended to be a review of a play that needs no words from amateurs. I can only say that it is all that theater is supposed to be. There isn’t a disappointment anywhere. It all starts with the words on the page and Letts gave the actors everything they needed to become richly layered people. The words are at once sharply witty and bitingly cutting. This is a big expansive three act play and there isn’t a moment that the audience isn’t fully involved.

I purposely didn’t say “characters” when talking about this play because the extended Weston family is much more than that. The actors are everything you should be training to be. Their skill at making truthful lives leaves the audience, three hours later, wanting more. They also leave you identifying their persona’s with people in your own life.

The three story set, the costumes, the lighting and the sound all perfectly enhance the drama of this play. Nothing is too minimal and nothing is used to excess. Perfect.

And then there’s Estelle Parsons. Because I never saw Deanna Dunagan’s Tony Award-winning portrayal of Violet, the Weston clan’s matriarch, I certainly can’t compare the performances. I can tell you one thing though, my feeling is if Ms. Parsons opened that show today she would most certainly win the award too! But this isn’t a one-woman show. It is an ensemble cast feeding off each other in a way that makes this evening of theater as good as it gets.

This national tour has only just begun. When this play gets to your city make sure you see it.