Pacific Overtures

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PACIFIC OVERTURES

Photo: Joan Marcus

Cititour.com Review
Pomp and grandiosity have been replaced by simplicity and lucidity in John Doyle’s stunning new production of Stephen Sondheim and John Weidman’s landmark 1976 musical “Pacific Overtures,” now at Classic Stage Company.

Unquestionably, those familiar with Harold Prince’s lavish original Broadway production, or even the entirety of the show’s score, may be unhappy with some elements of this minimalist, streamlined, 90-minute version. Nonetheless, there can be no denying that Doyle has made the story of the Westernization of Japan in the 1850s (primarily via a naval invasion led by America’s Commodore Perry) as clear as a freshly Windexed mirror. History literally comes alive on the unusual stage (also designed by Doyle) that bisects the audience.

Although Doyle has employed many controversial touches here, including the rather inexplicable use of very casual modern dress, he has eschewed his most famous one: The extraordinary ensemble of 10 actors – led by the estimable George Takei as the Reciter -- don’t play their own instruments. Instead, there’s a small but mighty orchestra handling this unusual score (gorgeously orchestrated by the great Jonathan Tunick), leaving the cast to act and sing with purity and precision.

Chief among the show’s standouts is the fabulous Steven Eng as the samurai-turned-government official Kayama, whose progression in life mirrors the changes in the country. He is simply stunning performing “A Bowler Hat,” a true Sondheim gem about how one blindly follows trends and succumbs to materialism.

Broadway veteran Thom Sesma is properly imposing as Lord Abe (and also wonderful as the Old Man in the gorgeous “Someone in a Tree” sequence – reportedly Sondheim’s favorite song); Orville Mendoza is excellent as the proud Manjiro, who comes back from America to warn his Japanese countrymen and is rescued from his death sentence by Kayama; and Karl Kosef Jo, Austin Ku, and Kelvin Moon Loh, all of whom play multiple roles, stand out as the British sailors during the gorgeous, subtly menacing “Pretty Lady.”

Unlike the Broadway original, which had no women in its cast, this production has two: the beautiful Megan Masako Haley and the invaluable Ann Harada, who brings her signature comic flair to “Welcome to Kanagawa.” (I wish Doyle had not only kept in the divinely clever “Crysanthemum Tea,” but let Harada lend the song her magic.)

While Doyle’s less-is-more approach to the material works most of the time, it doesn’t do justice to the show’s finale “Next,” which shows how Japan becomes completely modern over a century or so. In fact, many audiences may have no idea what the song is about due to the spare yet muddled staging.

So, no one bats 100 percent. Still, I will absolutely look forward to whatever John Doyle tackles next.
By Brian Scott Lipton


Visit the Site
http://www.classicstage.org/season/pacific-overtures

Cast
George Takei, Karl Josef Co, Marc delaCruz, Steven Eng, Megan Masako Haley, Ann Harada, Kimberly Immanuel, Austin Ku, Kelvin Moon Loh, Orville Mendoza, Marc Oka, Thom Sesma

Open/Close Dates
Opening 4/5/2017
Closing 6/18/2017

Box Office
866-811-4111

Theatre Info
CSC
136 East 13th Street
New York, NY 10003
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