Rodgers and Hammerstein's "South Pacific" has become more than musical entertainment. Now more than half a century old, based on James Michener's Pulitzer Prize-winning book and set in a period that defined our national identity, it has become a true piece of Americana.

Its creators peopled it with memorable characters and crammed its score with lavish melodies that still catch the hearts of an audience.

So it's understandable that the revival at Paliku Theatre, directed by Ron Bright, with musical direction by Clarke Bright, focuses on the music. All the principals are better-than-average singers who do justice to the songs. But, unfortunately, some of them can't find the necessary character spark to ignite the story line.

Steve Wagenseller plays French planter Emile de Becque and applies his naturally robust baritone to "Some Enchanted Evening" and "This Nearly Was Mine." His voice is not operatic and Wagenseller pushes a bit for the high notes, but he does justice to the emotion and appropriately shapes the part.

As Ensign Nellie Forbush, Maryn Good is new to Hawai'i audiences, and brings operatic credentials and a confident, well-supported voice to the role. Nellie introduces herself as a hick with "A Cockeyed Optimist," and that's just where Good leaves the character. Her performance lacks the depth and insight that might reveal Nellie as a true match for Emile, despite their duet on "This Is How It Feels." In this production, Nellie doesn't believably move past her unworldly trepidation at new ideas and values.

Unfortunately, this leaves the production with an empty core and a central love story that is even more unlikely than the script intended. Audience attention then shifts to the secondary love interest between Marine Lt. Joseph Cable and the lovely Tonkinese child-woman, Liat.

Tony Young delivers "Younger Than Springtime" and "You've Got To Be Taught," but falls short as a romantic leading man. Young is also the show's choreographer and crafts the dream ballet that is obligatory in Rodgers and Hammerstein musicals. Unfortunately, the dance is not clearly delineated as a dream sequence. Without that clarity, it is jarringly inappropriate to the moment and to the characters.

With the love stories not working, we turn hopefully to the character parts.

Here, Sonya Mendez as Bloody Mary turns in the production's most fully realized performance. She's got a rich voice, a workable accent, and the ability to deliver the comedy behind the sailors' "Bloody Mary," the yearning loveliness of "Bali Hai," the childlike genuineness of "Happy Talk," and the desperate anger that makes her rip Liat from Cable's arms.

Larry Bialock as Luther Billis also has good moments leading the men's chorus on "There Is Nothing Like A Dame" and Good rebounds in Nellie's upbeat moments for "I'm Gonna Wash That Man Right Outa My Hair" and "Honey Bun."

For the most part, Young's choreography is obvious and lacks style — workable for the amateur night at the camp's Thanksgiving Follies, but falling short on earlier numbers featuring the sailors and nurses.

But "South Pacific" remains an icon and its music alone warrants a trip to the theater.