As celebrations across the world commemorate the 50th anniversary of the end of World War II, productions of the musical “South Pacific” will be particularly appreciated this year. Based on James Michener’s “Tales of the South Pacific,” which was published in 1947 as an historical — and fictional — account of Michener’s own experiences of the war, the story is a reminder of war-time life. There are dire moments. Worries about “the Japs.” Soldiers in uniforms. Salutes, sailors and the call to arms.

But the real message of Michener’s tale, which launched his prolific writing career, is not of battle. As reinterpreted in 1949 by Richard Rodgers and Oscar Hammerstein II, the real story of “South Pacific” is that “love is a grand and a beautiful thing.”

To this end, director Ken Stack and the Grand Auditorium bevy of community players create a musical that reminds us of American history and the universal message that once you have found love, you should never let it go.

Ensign Nellie Forbush is the heart of this story, which is set among the Polynesian people in the South Pacific islands. Nellie, an all-American tomboy from Arkansas, falls in love with French exile Emile de Becque, agrees to marry him, and then learns that he has been married once before, to a Polynesian woman with whom he had two children. Even though the first wife has died, Nellie is repulsed by the thought of the interracial marriage, and she tries to flee Emile. By the show’s end, however, she loses her prejudice, partly because she has seen and sanctioned the love between a young lieutenant and a Polynesian girl.

“South Pacific” is chock-full of some of the most hummable songs ever written for musical theater: “Some Enchanted Evening,” “There Is Nothing Like a Dame,” “Bali Ha’i,” “I’m Gonna Wash That Man Right Outa My Hair” and “Younger Than Springtime.” Music director Robert Bahr and his small orchestra move through the songs somewhat clunkily, but the spirit of the overall piece is definitely there. And the voices of the cast, as is often the case in Grand productions, give laudable tribute to the score.

Valerie LaPointe, as Nellie, is plucky and bright. Steve Gormley, as Emile, is bigger than life with his rich voice and towering presence. His performance may not be exactly true to the sophistication of the Frenchman, but he is entertaining nevertheless. Anne Geel, as Bloody Mary, is kooky and spunky.

The best moments of the show, however, belong to the supporting cast. Bill Shaw, as the enterprising sailor Luther Billis, turns in a hoot of a performance as a South Seas siren in “Honey Bun.” In grass skirt, blond wig and coconut-shell bikini top, he does a hula-hula that makes the boat tatoo on his stomach hit the high seas.

Although the love story at the center of this plot has all the good songs and star power, the one that really packs the punch in this production is between Marine Corps lieutenant Joseph Cable and Bloody Mary’s daughter, Liat. They are only onstage for a few moments together, but during their musical number “Happy Talk,” Timothy Lunt, as Cable, and Elizabeth Wilson, as Liat, give the sweetest performance of the show. As Bloody Mary sings over them, neither of the young lovers says a word, but Wilson mimes the lyrics in the most sincere and graceful fashion. She is, at every moment, lovely, innocent and sparkling.

Mark Grindle, as Captain Brackett, and Rachel Henry and Travis Bannister, as the de Becque children, win honorable mention, too, for their good work.

Choreographer Judy Savage keeps the cast hopping in an unusually varied set of dances, and costumer Linda Grindle has sewn together an attractive wardrobe for the show.

“South Pacific” will be performed 8 p.m. May 26 and 27, and 2 p.m. May 28 at the Grand Auditorium in Ellsworth. For tickets, call 667-9500.