Honey Bun Lyrics – Rodgers and Hammerstein's South Pacific

Song Overview

Personal Review

My take: Honey Bun by the New Broadway Cast of South Pacific (2008) brims with witty lyrics and sprightly melody, delivering a flirtatious narrative of falling head over heels in a buoyant Broadway style.

Snapshot: In a rollicking burlesque at the Thanksgiving Follies, a sailor professes his delight in his dainty 'Honey Bun', each line exploding with dynamite-packed admiration.

Song Meaning and Annotations

“Honey Bun” closes the fictional Thanksgiving Follies in Rodgers & Hammerstein’s South Pacific, in which the character Nellie Forbush dons a sailor’s uniform to deliver a comic burlesque praising her “dainty” girlfriend, complete with grass skirt and coconut-shell bra.

Musically, it blends big-band brass flourishes with vaudevillian burlesque flair, propelled by staccato percussion and a buoyant swing that underscores its comedic bent.

The song’s lyrics begin with playful admiration before evolving into triumphant exultation, as the narrator shifts from careful compliments to full-throated praise—

"Only sixty inches high / Every inch is packed with dynamite"

Composed by Richard Rodgers with lyrics by Oscar Hammerstein II for the 1949 Broadway premiere, it debuted on Mary Martin’s original cast recording that spring, later entering the repertoire of artists like Danny Kaye.

The playful metaphors—from “a doll…as dainty as a sparrow” to “packed with dynamite”—wield imagery of fragility and explosive power to underscore the thrill of newfound love.

Set against a World War II backdrop, this tongue-in-cheek burlesque offers levity amidst broader narratives of prejudice and wartime duty that define South Pacific’s social conscience.

Verse Highlights

Verse 1

In the opening verse, the narrator sketches an affectionate portrait of the ideal partner—her figure “as narrow as an arrow” and “broad where a broad should be broad”—setting a playful, image-rich tone.

Chorus

"A hundred and one pounds of fun / That's my little Honey Bun"

This refrain, with its sing-song meter and exultant declaration, reinforces the song’s joyous celebration through repetition and dynamic phrasing.

Song Credits

• Featuring: Kelli O’Hara, Paulo Szot, Danny Burstein, Loretta Ables Sayre
• Producer: David Caddick, David Lai
• Composer: Richard Rodgers
• Lyricist: Oscar Hammerstein II
• Release Date: May 27, 2008
• Genre: Musical theatre, Broadway, Show tunes
• Instruments: Violin, cello, trumpet, trombone, saxophone, flute, clarinet, piano, percussion (snare drum, bass drum)
• Label: Masterworks Broadway
• Mood: Playful, comedic, flirtatious
• Track #: 21
• Language: English
• Album: South Pacific (New Broadway Cast of South Pacific (2008))
• Music style: Show tune with vaudeville and burlesque elements
• Copyrights: © 2008 Masterworks Broadway; Composition © 1949 Williamson Music Company

Songs Exploring Themes of Playful Romance

Always True to You in My Fashion (1948) is a Cole Porter show tune from Kiss Me, Kate that layers ironic wordplay with a jazzy arrangement to depict a flirtatious bargain of devotion. The confident mezzo-soprano vocal and brisk piano-led accompaniment demand precise articulation and comic timing, while lyrics like

"If the Harris pat means a Paris hat… I'm always true to you, darlin', in my fashion"

Meanwhile, Anything You Can Do (I Can Do Better) (1946) by Irving Berlin from Annie Get Your Gun turns playful romance into a competitive duet, with Annie Oakley and Frank Butler trading boisterous challenges. Its driving piano accompaniment and punchy big-band touches underscore the witty call-and-response refrain—

"Anything you can do, I can do better; I can do anything better than you"

In contrast, Cole Porter’s You’re the Top (1934) from Anything Goes adopts a celebratory tone, likening the beloved to cultural icons—from an “arrow collar” to a “Waldorf salad.” This catalog-style duet demands snappy delivery over bright swing orchestration, turning elaborate compliments into a parade of clever allusions, and requiring both singers to blend theatrical flair with linguistic precision.

Questions and Answers

When was "Honey Bun" first performed and by whom?

"Honey Bun" was first performed by Mary Martin and her ensemble in April 1949 as part of the original Broadway production of South Pacific.

What is the dramatic context of "Honey Bun" in the musical South Pacific?

It appears as the final number of the Thanksgiving Follies, where the character Nellie Forbush performs a comedic burlesque in a sailor’s uniform, praising her sweetheart.

How does "Honey Bun" reflect Rodgers & Hammerstein's thematic concerns?

While serving as comic relief, the song’s celebration of innocent romance contrasts with more serious themes of prejudice and war elsewhere in the show, highlighting the musical’s balance of entertainment and social commentary.

How has "Honey Bun" been received or covered since its original debut?

Aside from Mary Martin’s original recording, Danny Kaye and others recorded the song in 1949, and it was revived memorably by Kelli O’Hara in the 2008 Broadway revival, which earned Grammy and Tony nominations.

What vocal techniques are essential for performing "Honey Bun"?

Performers should employ clear diction, precise comedic timing, controlled belting for the dynamic lines, and agile breath support to navigate quick rhythms and repeated refrains.

Awards and Chart Positions

The original Broadway production won the Pulitzer Prize for Drama in 1950 and ten Tony Awards, including Best Musical.

The 2008 Broadway revival won seven Tony Awards, including Best Revival of a Musical, and its cast album was nominated for Best Musical Show Album at the 51st Grammy Awards.

The 1958 film soundtrack featuring Mitzi Gaynor and Ray Walston topped the US Billboard 200 for seven months and reached No. 1 on the UK Albums Chart, earning Gold certification in the United States and Platinum in the United Kingdom.

How to Sing?

"Honey Bun" demands a brisk tempo and comedic flair, typically performed at an allegro pace to maintain its lively character. Singers should focus on clear enunciation of playful imagery while employing belting technique on climactic phrases like “packed with dynamite.” Agile breath support is crucial for the repeated refrains and swift melodic runs, and careful attention to timing will maximize the song’s theatrical impact.