Umegei/Menier Pacific Overtures Question

I had a quick question for the boards, if anyone has been following the Umegei production of Sondheim's Pacific Overtures that is supposed to transfer to the Menier Chocolate Factory in London. Does anyone know if this production included the number "Chrysanthemum Tea"?

I know that typically it is included, but it was excised for the Classic Stage revival in 2017, and I haven't been able to find information one way or the other for this production.

A friend saw it in Japan earlier this year, and yes, Chrysanthemum Tea was cut. 

I saw it in Japan. It was basically the Doyle revival on a grand scale, which unfortunately dilutes its pathos. Doyle's revival worked as a cautionary tale of the victim turning into its own perpetrator. This production unfortunately lost that and made its grand finale a garden-variety happy-ish ending.

John Weidman talks briefly about the cutting of 'Chrysanthemum Tea' in this interview about the recent production in Japan. (Fittingly perhaps, the below 'quotation' is Google's translation or back-translation of his comments from the article, which is in Japanese.)

https://www.musicaltheaterjapan.com/entry/2304-2

"In this [show], Sondheim does a great job especially in the opening number (“The Advantages” ), which shows the purity of (Japanese) culture that has existed and been protected under its own rules. I think [he] expressed it well. It is precisely because of this purity that the ways in which it has been invaded, trampled upon, and changed by the West stand out. However, when I looked back at the work, I realized that the number "Chrysanthemum Tea" in the middle of the first act... had a hint of irony, written with an American feel. I thought that if this song were taken out (cut), the purity of the opening number could continue to be the basis of this work, and it would also be effective as a background for “A Bowler Hat” in the second act... I think it was a good choice in the end.”

Updated On: 9/29/23 at 05:33 PM

Earlier this year, the Signature Theatre, the Tony-winning regional company in Arlington, Va., did its second revival of ''Pacific Overtures.'' Back in 2005, the Signature did this musical about Japan with an all-Caucasian cast (!). This time, a Signature, more sensitive to diversity, cast an all-Asian company, and a number of Asian-Americans were on the creative team, such as Ethan Heard, the director of this ''Pacific Overtures'' and Signature's associate artistic director. 

Signature did NOT use Doyle's cut-down version. Instead, Jonathan Tunick wrote new orchestrations for 9 pieces, and John Weidman supplied ''small updates'' to the book. Weidman also did a hourlong guest ''Conversation'' at the theater, where he applauded the Signature's production.

As for ''Chrysanthemum Tea,'' Weidman heard that there were Sondheim fans who called the box office; if this song was being cut, they said they wouldn't be coming. Signature's revival indeed included ''Chrysanthemum Tea,'' and Weidman lauded the cast and Heard's direction for  ''the funniest version I've seen [of that song} in 47 years.''

Updated On: 9/30/23 at 03:33 AM

Wayman_Wong said: "Earlier this year, the Signature Theatre, the Tony-winning regional company in Arlington, Va., did its second revival of ''Pacific Overtures.'' Back in 2005, the Signature did this musical about Japan with an all-Caucasian cast (!). This time, a Signature, more sensitive to diversity, cast an all-Asian company, and a number of Asian-Americans were on the creative team, such as Ethan Heard, the director of this ''Pacific Overtures'' and Signature's associate artistic director.

Signature did NOT use Doyle's cut-down version. Instead, Jonathan Tunick wrote new orchestrations for 9 pieces, and John Weidman supplied ''small updates'' to the book. Weidman also did a hourlong guest ''Conversation'' at the theater, where he applauded the Signature's production.

As for ''Chrysanthemum Tea,'' Weidman heard that there were Sondheim fans who called the box office; if this song was being cut, they said they wouldn't be coming. Signature's revival indeed included ''Chrysanthemum Tea,'' and Weidman lauded the cast and Heard's direction for ''the funniest version I've seen [of that song} in 47 years.''"

That production was gorgeous. I flew in for less than 24 hours to see it. Don't regret it at all.

First preview of the menier - yes c tea is indeed out. The production is visually stunning and conceptual - the idea is that people are in a modern museum and are watching some kind of documentary about this history. The reciter is the kind of documentary host - in modern clothes and almost jpop look with bleached blonde hair. And the actor sings well. So the scenes and songs are almost historical scenes with beautiful ancient looking costumes etc. Overall, I’d say the concept works and it helps the material feel more accessible but it does make the evening seem a bit lighter and the ending where it shows the reciter now on an actual projected tv screen to button end works intellectually sure but also might be a LITTLE cringeworthy. 

The singing was a bit mixed - some strong voices and others a bit weak. I would not expect a cast recording but this is Sondheim so we might get lucky. 

I think it’s the material itself (music, lyric, book) coming together with the visually stunning design and choreography that makes it just beautiful at times. Sondheim really was in peak artistic creativity at the time. The way it kind of all weaves in and out of book, music and all of the complex music eg please, hello it’s just stunning. And the production makes it almost feel this was a James Lapine era rather than Hal Prince era Sondheim. It was somewhat chilling to see the transformation in ‘bowler hat’. And in general, the whole evening felt like it was commenting a little bit on political world events around immigration and racism. 

‘welcome to kanagawa’ in the post me2 era has been made to be a bit of a predatory scene with no applause at the end and a terrified girl (has this been done before/is it always like this?). 

One chilling directorial choice was to have samurai eying and walking into the audience when they were advocating for the killing of the barbarians. Ie us. 

I’m sure it won’t be for everyone and feels a tiny bit esoteric at times but I think like any major Sondheim production is a must see for core theatre fans. 

 

Updated On: 11/25/23 at 04:50 PM