#101
Posted: 4/21/17 at 6:15pm
Also to add, Modern kabuki DOES include women.
Pacific Overtures previews — Page 5
#102
Posted: 4/22/17 at 6:03pm
Just got back from this production, overall I enjoyed it, but I cannot for the life of me figure out what John Doyle's concept for this production was supposed to be. As others have said, the opening seems to imply that Megan Masako Haley is looking at a museum exhibit and this inspires her to wonder what Japan was once like. This concept is fine in theory, but in practice, Doyle never went anywhere with it. That issue seemed to perforate this entire production, interesting concepts that never went anywhere.
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In particular, the plane sounds that played after Kyama and Manjiro's duel left me confused. Was it an allusion to the bombing of Hiroshima and Nagasaki? 9/11? I have no idea.
Despite my issues with the direction, I still found this production to be well worth the price of admission. Ann Harada and Thom Sesma were both standout performances amidst a strong company. The orchestra had a lush sound and did justice to the score despite the reductions (I think they actually got the biggest hand at the curtain call). While Doyle's cuts to the show have garnered a lot of ire on this board, this is still strong material. Numbers like "Someone in a Tree" and "Please Hello" are incredible in a live theatre, and both garnered the most applause of the afternoon. I think whether or not someone likes this production will be if they still enjoy a strong show and strong performances despite sloppy direction.
"This reminds of a debate my brother and I were having about whether or not Stephen Sondheim is really light opera." -Frasier Crane
Updated On: 4/24/17 at 06:03 PM
#103
Posted: 4/24/17 at 9:54am
justoldbill said: "This year's PACIFIC OVERTURES, like this year's TEENY TODD, is something I will just have to live without."
Forgive me if I am mis-understanding your comment, justoldbill, but if you are boycotting the Barrow Street Theater production of 'Sweeney Todd' because of it's small cast and limited orchestration, I encourage you--I beg you--for your own enjoyment, to re-consider. It is, IMO, a thrilling night of theater.
I must wait until I have seen the CSC 'Pacific Overtures' to attempt any contrast or comparison, but from the thoughtful and insightful comments in this thread, it seems that the knife has, perhaps, cut too deep into Pacific Overtures. I think part of the problem is that this is *such* a rarely-produced show--my only live experience is the 2003 production at the Arden, in Philadelphia--and it is disappointing to find that we are not getting a full-on version of the show.
(Slightly OT, but if Kad, Growl and Newintown need someone to work the coat-check or run for drinks or snacks or whatever, I'm available...)
You think, what do you want?
You think, make a decision...
#104
Posted: 4/24/17 at 10:27am
"(Slightly OT, but if Kad, Growl and Newintown need someone to work the coat-check or run for drinks or snacks or whatever, I'm available...)"
I'm a bit slow today, so it took me awhile to work that one out, but after I did, I enjoyed it greatly.
#105
A work of art is an invitation to love.
Posted: 4/24/17 at 7:15pm
re: what the visual concept is, American Theatre just put up this interview, which addresses it: http://www.americantheatre.org/2017/04/21/john-doyle-directs-his-favorite-sondheim-show/
The set is meant to represent paper/the original treaty between the US and Japan.
#106
Posted: 4/25/17 at 8:21am
I feel like another joke went over my head...Lol
https://newplayexchange.org/users/99643/amanda-delalla
#107
Posted: 4/25/17 at 7:08pm
What does the Kanji for "clear mirror, still water" have to do with the treaty?
#108
Posted: 4/26/17 at 12:56pm
To Addison D.-
"Boycott" is a strong and incorrect word. You'll not see me outside these two theatres with sheets of paper and a bullhorn shouting, "SIGN THE PETITION!" Not spending large and unreasonable amounts of money for small and threadbare productions is not a protest, it's a choice.
Well-well-well-what-do-you-think-of-that-I-have-nothing-here-to-pay-my-train-fare-with-only-large-bills-fives-and-sevens....
#109
Posted: 4/27/17 at 8:02am
Last night was my first exposure to the piece and I found it to be a bit of a mixed bag. I'd previously only known Someone in a Tree, but I listened to the score before going in and really enjoyed it- it's so lovely and different from almost anything else he's written.
On a happily positive note, the orchestra sounds remarkably full for such a small space, and the cast all sing beautifully. The staging is really where this production falters. It isn't bad, per se, but the concept is sort of muddy. We see this woman in modern dress (as is the rest of the company, which is a bit bizarre, seeing as the show is about cultural change) seemingly mesmerized by the old world of Japan, but then she also acts as a member of the company as Tamate. I'm not sure the play needs an observer character, but if you're going to do that, go all the way and fully make her one- I couldn't understand what the actor was supposed to be at any given time. That's also how I felt about George Takei. It's lovely to see him and he has such a presence, but it seems like his role has been cut significantly and as such, it's a little hard to discern what his purpose on stage is. I think this show can absolutely withstand a minimalist staging, but this one is too often confusing. Maybe someone can answer this for me, but why does Tamate kill herself? It may not have been the staging, but I couldn't figure it out.
Still, for all the lack of clarity in the staging, Someone in a Treet and Please Hello are true standouts. They're marvelous songs, of course, but here they're performed and staged very well. Ann Harada and Kelvin Moon Loh were quite funny in the latter number, as respectively the French and Russian Admirals (side note, but I think "Don't touch the coat" is possibly one of my favorite Sondheim lyrics).
I don't think the production is a total misfire at all, but given the strength of the score and how rarely we get to see this, it's a shame it isn't better than it is.
I am a firm believer in serendipity- all the random pieces coming together in one wonderful moment, when suddenly you see what their purpose was all along.
#110
Posted: 4/27/17 at 8:38am
Wonderfulwizard11, maybe have the "observer" character actually be the Reciter, reading a book about this period in his/her modern dress. And then have this character be white, as the audience watches them learn the history. Could be a unique sort of edge?
https://newplayexchange.org/users/99643/amanda-delalla
#111
Posted: 4/27/17 at 9:14am
I think that the character of the Reciter sort of renders this observer character useless- Takei does deliver some lines to her, but it isn't clear what their relationship is.
That said, I don't think white people should ever be cast in this show. I can't see any convincing argument to cast one at all.
I am a firm believer in serendipity- all the random pieces coming together in one wonderful moment, when suddenly you see what their purpose was all along.
#112
Posted: 4/27/17 at 9:32am
wonderfulwizard11, there's a video of the full original production (professionally filmed) on YouTube. If you're still curious about the piece I would highly recommend giving it a look.
I am a bit sad to read all of these mixed views. Seeing it next Weekend and was hoping it would be a highlight of my trip. Trying to keep an open mind, but these changes sound distressing. Doyle's work has always been a mixed bag for me. I think he is quite good at taking flawed shows, like The Color Purple, and really focusing them. For more classic works (Sweeney, Company) I often feel like he is more playwright than director, reshaping the show for his vision rather than letting the text guide him. New takes on shows is fine by me, but when the material has to be tweaked this much it just feels lazy to me.
I hated the Roundabout revival so was hoping this would erase that memory a bit for me. I adore this show and hoping I'm able to enjoy this production, cuts and all.
"Broadway...I'll lick you yet!"
#113
Posted: 4/27/17 at 9:38am
Mildred, thanks for that link- I'll have to check it out. I'd previously seen Someone in a Tree and had to watch Please Hello after falling in love with the song- the staging really is so fascinating.
I don't think the show has to be staged in the kabuki style, but it's irritating that a venue like Lincoln Center won't invest their considerable resources on a really lavish production of this material. Personally, I'd be more interested in that than another production of My Fair Lady.
I am a firm believer in serendipity- all the random pieces coming together in one wonderful moment, when suddenly you see what their purpose was all along.
#114
Posted: 4/27/17 at 9:41am
The Reciter was initially written as an omniscient master of ceremonies-type character, who would also step into several important roles. It's a shame the role has been reduced, as Takei is very ideal casting.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
#115
Posted: 4/27/17 at 9:47am
He is present for much of it, but so is most of the company. For example, all the Reciter's lines at the beginning of Someone in a Tree are split among everyone.
I am a firm believer in serendipity- all the random pieces coming together in one wonderful moment, when suddenly you see what their purpose was all along.
#116
Posted: 4/27/17 at 9:54am
That seems to defeat the purpose of the character. That's akin to keeping the Narrator in Into the Woods, but divvying half his lines up amongst the cast.
"...everyone finally shut up, and the audience could enjoy the beginning of the Anatevka Pogram in peace."
Updated On: 4/27/17 at 09:54 AM
#117
Posted: 4/27/17 at 10:02am
Yes- and since Takei is the only member of the company to not play any other roles (well, excluding Manjiro and Kayama) it's just an odd choice.
I am a firm believer in serendipity- all the random pieces coming together in one wonderful moment, when suddenly you see what their purpose was all along.
#118
Posted: 4/27/17 at 10:16am
I do wonder if part of slashing The Reciter's role had to do with accommodating George, rather than just Doyle's whims. In the documentary To Be Takei, you can see George struggling with memorizing lines for Allegiance at the Old Globe. Simple compared to Sondheim. I had worried about him tackling some of the more intricate lyrics I knew from Mako's turn on the album. Turns out, those have mostly been reassigned. No dig at George, seeing him was my favorite part of this production.
Almost have to laugh, hearing that the set is meant to represent the treaty. So little care put into communicating with the audience throughout the whole evening.
#119
Posted: 4/27/17 at 10:27am
Also, much as I love some of his previous productions, that interview with Doyle really paints a picture of an emperor with no clothes. I mean, I didn't expect to agree with a defense of this production, I just never thought his outlook on politics and staging would be so... Undergrad. His entire justification for austere minimalism is that the audience "imagines" and that FILM does imagery. Does he have any interest in any of the deeply theatrical and less-than-literal design traditions? Does he think Kabuki is for film? Minimalism is great, but you need SOMETHING that spurs your imagination; something that suggests something greater, and hopefully with some style. His best example is throwing paper petals to suggest a tree. I've seen that kind of thing done more effectively in community children's theater.
Then there's this, on Chrysanthemum Tea:
"The writers and I felt that, with what I was trying to say with the piece, it might get in the way and halt the show."
That's right, the actual piece might get in the way of what he's trying to do.
Ironically, it creates pacing problems.
Updated On: 4/27/17 at 10:27 AM
#120
Posted: 4/28/17 at 12:11am
Won TodayTix $30 Lottery today so I was excited to see this production (BTW, this is the second time I have won TodayTix Lottery in a week! Also won Gently Down The Stream for $20, so a big thank you to TodayTix. I added the Facebook post option for doubling my chances. I had never done that before. Maybe it helped. Also, the seat locations were unbelievable. 4th row for Gently Down The Stream at the Public and the first row tonight at CSC. So I recommend to keep trying!)
The show tonight was pretty much what has been posted here. I saw the original 17 times and saw the Off Broadway production at the old, now gone, Promenade Theatre and the Roundabout production. I obviously loved the original and liked the other two. This one left me cold. The orchestra was indeed wonderful and there are some great singers in the cast. I don't expect a replica of the original but, in turn, give me something else to hang on to. No costumes per se, robotic movements, no Lion Dance, no Chrysanthemmum Tea, no dance break in Next, no dialogue in Next, no boat (really missed that!) and if you hadn't seen a production of the show before, I don't know how you would know what was going on. The role of the Reciter has been divided up as to leave George Takei with almost nothing to do. This role was nominated for a Tony Award for Best Actor in a Musical. You would not know that now. There is a wondering woman on the stage staring at the cast blankly. She takes a role in the show at points. Dialogue and songs have been inexplicably divided up and been given to various cast members (no musical numbers are listed in the Playbill). I could say more.
Don't get me wrong. It was wonderful to hear the score live again. And some numbers came to life- Please Hello, Pretty Lady. And I've liked Mr. Doyle's Sweeney Todd and Company. But Pacific Overtures was a show that took me to a different world that I didn't know about. I was always swept away by its beauty and sense of place. Didn't happen tonight.
Updated On: 4/28/17 at 12:11 AM
#121
Posted: 4/28/17 at 12:51am
Does anyone know if seats were held for the lottery? It seems like most of the dates are sold out or close to sold out.
#122
Posted: 4/28/17 at 2:41am
Scarywarhol I agree- Doyle comes off as both egotistical and shallow in that interview.
Surely if he is focusing on ceremony in his production, Chrysanthemum Tea would be an ideal way of demonstrating the stifling effect of over-formalizing government.
He also implies he invented the actor-musician style (which I loathe) but I saw a production of Company around 1990 using actor-muso's long before him. It didn't work for me then, either!
#123
Posted: 4/28/17 at 11:42am
EthelMae said: "if you hadn't seen a production of the show before, I don't know how you would know what was going on. "
A few people on this thread have written something along these lines, but based on the experience of my best friend - who had never seen or listened to the show before, aside from a few songs - it doesn't seem to be true. As he said, even without costumes, when the actors suddenly adopt lower-economic-class British accents and sing about being a million miles from Stepney Green, it's fairly clear what's going on.
#124
Posted: 4/28/17 at 12:02pm
I would agree with that- the only thing that confused me was Tamate's suicide. I understood the plot re: Kayama and Manjiro just fine- what's confusing is Doyle's framing device, which is just unclear.
I am a firm believer in serendipity- all the random pieces coming together in one wonderful moment, when suddenly you see what their purpose was all along.
#125
Posted: 4/28/17 at 12:38pm
http://www.broadway.com/buzz/188443/pacific-overtures-revival-starring-george-takei-extends-run/
Just extended its run to June 18th, so it must be doing something right.
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