Pacific Overtures previews — Page 5

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...)

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.

What does the Kanji for "clear mirror, still water" have to do with the treaty?

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 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.

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.

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.

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.

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

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.

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.

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.

It would be quite impossible to NOT understand what is going on. The plot is quite self-explanatory if you listen to the lyrics.