Pacific Overtures previews — Page 6

On one level, Tamate commits suicide because she is convinced Kayama's mission will be a failure (he has said that if it was a failure, they know what they must do). This makes her the first real victim of the Westerners' arrival; not a national tragedy but an intensely personal one. On another level, her story is over. Kayama's arc to his own Westernization (downfall?) may not have happened with Tamate's continued love and support. He's lost his anchor.

Updated On: 4/29/17 at 06:36 AM

I really enjoyed this production and Doyle's direction. I found the entire experience to be very beautiful. I had not seen any other production or heard a single song previously so that gives me a different perspective than many people on this thread. That being said, I think a production like this is better viewed without comparing it to the original. I feel like it is often very easy to feel nostalgic for an original production that you viewed many times and when someone makes changes it annoys the part of your brain that just wants to re-experience the original production you saw. I personally love what Doyle said in that American Theatre article. "There will always be a part of the audience that has a fundamental approach to how a work should be done—a nostalgic element. Good directors who do revivals don’t set out to trash the original. They’re honoring the original. They simply hear the words differently and see the work differently. For them, it’s a different experience."

There Is No Other Way was sung by two "Observers" in the original Broadway production. As Tamate did a dance, her feelings and thoughts were expressed through the Observers. Kayama dressed to meet the Americans as the scene progressed. It was a beautiful moment ending with Tamate taking out a sword after Kayama has left. We're left with wonder if she will kill herself or not. And, of course, we discover that she did as Kayama finds her upon his return. Another great moment in the show. For me, this production didn't have that emotional pull. Having Tamate and Kayama sing There Is No Other Way felt odd to me. But then I guess I have that nostalgic feel for the show as Mr. Doyle mentions in the interview mentioned here. Again, I saw the Broadway production 17 times. I will always love this show so it feels strange that I don't have an urge to revisit this production.

p.s. Again, no boat? That scene stoped the show on Broadway as Boris Aronson's incredible set came downstage in several pieces. Not to mention Tharon Musser's brilliant lighting. If you haven't seen the YouTube tape of this show, and hopefully it's still available there, you owe it to yourself to check it out. I have trouble with some of the camera choices but it's still incredible that it exists at all.

Updated On: 4/30/17 at 02:26 AM

I quite enjoyed this production. But I did read this thread (when it was only 1 page long), which was good for calibrating expectations that it was a small, minimalist off-Broadway affair with bare stage and essentially no costume. I also didn't pay a ton of money -- I won the lottery -- which was a great way to see this show on the cheap. I recommend that if you are on the fence and can leave it to chance to try your hand at the lottery.

I have no previous exposure to Pacific Overtures, didn't know what it was about, and wouldn't have known about the cuts if you hadn't told me. I realized that between this and Sunday in the Park with George, I'm not a huge fan of Sondheim (hoping to give it one more shot with Sweeney Todd). Nonetheless I found this story and the characters compelling.


The story was really easy to follow. I actually liked how the actress playing Tamate drifted in and out of being an audience surrogate and an actual character within the show. When the story began to re-focus on Kayama, I think that is where it started to shine. It's odd there's confusion about Tamate's suicide, but I suppose that some people may never have heard of the practice of seppuku / harakiri (not sure which is the more appropriate term). In order to preserve your honor and the honor of your family, rather than face failure (e.g. capture by enemy), you must commit suicide (code of samurai). I thought that was pretty clear when he said, "You know what you must do" (paraphrasing). That's why when she sings, "I Will prepare for your return" (paraphrasing) over and over in an upbeat way, it was pretty heartbreaking because they were 100% confident he was going to fail.

Also, this is the first time I've seen an on/off-Broadway production with 100% Asian cast, and their performances were absolutely splendid. As an Asian-American it's always a bizarre and refreshing experience (outside of The King & I -- while I loved, I found to be almost offensive stereotyping, as it was from a white person's vantage point -- Allegiance was the first time I saw a show predominantly Asian cast, Vietgone was the other).

I really enjoyed the history lesson, too, even though it barely scratched the surface. I've honestly never though about the end of Japanese isolation and the impact of it, and this show has certainly piqued my interest.

I saw this yesterday afternoon as the first part of my Sondheim Sunday off-Broadway double feature (Sweeney Todd at night). I never saw a production of Pacific Overtures before, but I wore out the OBC record many years ago. Unfortunately, while I still appreciate the beauty and wit of the score, and the performances were very good, this production doesn't come close to being worthy of the material. The staging was so minimal, it was like a concert version of a truncated score. If you're going to do such a minimalist production, why not just do the whole thing? I don't get it. I didn't like Doyle's Sweeney Todd either, so I guess he's just not my cup of (chrysanthemum?) tea.

Finally saw this tonight. Terry Teachout was there and at least one other critic.

Pacific Overtures is the one Sondheim show I have the least connection with, although I am extremely fond of the score. This was my first live production of the show and I have to say that I quite enjoyed it. It clearly feels like a cliff notes version of the show, as some plot points roll by without enough time to communicate its importance. I found the staging unique, immersive, and strange in the Doyle sense that we've all come to expect.

The star of the show is the achingly beautiful score played by a surprisingly full sounding orchestra. Of course, nothing beats the grand sound of the original orchestrations, but this sounded perfect for the small theater.

The case is excellent, Harada is standout, and Takei is indeed wasted.

Many elements of this production need to settle with me and I would absolutely like to see it again. As someone without a deep connection to the show, this production felt fulfilling enough for my first exposure to the actual show. If you're not a Doyle fan, you will not change your mind with this production, as he uses his usual bag tricks throughout the show. If you're new to Pacific Overtures, definitely give this a chance.

Updated On: 5/3/17 at 09:35 PM

I agree, using the young woman as the central symbol felt like a framing device that wasn't explored or communicated well enough.

And yes, "Someone in a Tree" and " Please Hello" were stunning moments, the former is touchingly and beautifully performed because as you said he lets the unbelievable song do the work. "Welcome To Kanagawa" and "Pretty Lady" were also standouts for me.

Updated On: 5/3/17 at 10:08 PM

Jesse Green is mixed leaning positive

https://mobile.nytimes.com/2017/05/04/theater/pacific-overtures-review.html?_r=0&referer=https://www.google.com/

The Hollywood Reporter is a rave

"A masterwork in miniature."

http://www.hollywoodreporter.com/review/pacific-overtures-theater-1000003

I agree, Green gave it an extremely fair assessment.



NBC NY is Positive

“Pacific Overtures” is a complicated musical, even by Sondheim standards. But Doyle has shaped a delicate production that’s comparatively easy to parse.

http://www.nbcnewyork.com/entertainment/the-scene/Review-Sondheim-Pacific-Overtures-Takei-421320143.html

Newsday is a Rave

BOTTOM LINE: A tiny but mighty revival.

http://www.newsday.com/entertainment/theater/pacific-overtures-review-sondheim-revival-soars-in-intimate-setting-1.13566071

Variety is Positive

Theatergoers who treasure their memories of the opulent production originally staged on Broadway by Harold Prince will have to pack those memories away. Spectacle has no place in this production; it’s replaced with intimacy. By seating the audience on both sides of the ramped stage, Doyle creates the enchanting illusion that John Weidman’s historically faithful book and Sondheim’s magnificent score are literally unfolding from the pages of an ancient manuscript.

http://variety.com/2017/legit/reviews/pacific-overtures-review-george-takei-1202409370/

This is a very belated reply to hushpuppy's post of April 9. (I saw the show this afternoon, and just read through this whole thread.) i'm glad to know I'm not the only nit-picky type who was bothered by the hammer and sickle being on the Russian flag in the 1850's. I'm not only nit-picky, I'm also obsessive, so I Googled and found out that the hammer and sickle were added to the Russian flag in 1923. Good to know if you're ever on Jeopardy.