BROADWAY SNAP-SHOT
by Russell Bouthiller

Dateline: 5 December 2004

PACIFIC OVERTURES

Following the critical success of their revival of Stephen Sondheim's ASSASSINS, The Roundabout Theatre Company presents a new production of one of our greatest living composer's most esoteric works. With a book by the prolific John Weidman, PACIFIC OVERTURES takes a look at nineteenth century "Gunboat Diplomacy" from a Japanese point of view.

Originally produced in 1976 under the direction of Hal Prince, PACIFIC OVERTURES was neither a financial nor critical success. Running just under 200 performance at the Winter Garden Theatre, PACIFIC OVERTURES had the cognoscenti and devotees questioning the creative team's intentions.

This Roundabout revival, now at Studio 54, stars Tony-winner B. D. Wong and is directed and choreographed by Amon Miyamoto. Miyamoto presented PACIFIC OVERTURES in Japanese for the New National Theater of Tokyo and his production became part of the Lincoln Center summer festival in 2002.

PACIFIC OVERTURES is certainly not your typical Broadway musical. In fact, it seems to invent a whole new category. Suffice it to say, this is not musical comedy. One might argue this is musical drama, but the sweeping structural focus makes PACIFIC OVERTURES more akin to musical documentary than anything else. And, at that, the show does quite well, but like many of Sondheim's musicals, it will certainly be for select tastes.

Beginning in the year 1853 and moving through to the present, PACIFIC OVERTURES explores the consequences of Western culture on the island empire that kept out foreigners for some 250 years. On a bleached cedar set surrounded by a tidy trough of water—exquisitely conceived by Rumi Matsui—the account of Commodore Matthew Perry's purging of the eastern shores of Nipon unfolds with Origami complexity.

Weidman's book and Sondheim's lyrics are chock-a-bloc full of historical information mapping out the arcane social structure of this feudal empire. In the opening number, "The Advantages of Floating in the Middle of the Sea," a sweeping sequence illustrates the relationships between peasants and lords, priests and laymen, Shogun and Emperor. And, in "Chrysanthemum Tea," we see court intrigue Japanese-style as the Shogun's mother poisons her Shogun son.

So, while history buffs enjoy the authors' unique perspective, Sondheim fans can feast upon one of the composer's richest scores. With a tonal tilt to the East, he creates a mystifying and foreign world. From the reverential "Someone in a Tree" to the bawdy "Welcome to Kanagawa," we are whisked away into a climate perfumed with cherry blossoms.

Leading a stalwart company of predominantly Asian-American actors, B. D. Wong plays the Reciter as well as a number of other roles. Rolling off a piquant haiku, Wong's affable presence welcomes you into a forbidden land. Paolo Montalban offers an energetic Manjiro, the young fisherman turned Samurai. Michael K. Lee does a nice turn as Kayama, a simple man swept into international events. And, Telly Leung's hauntingly beautiful voice embellishes "Pretty Lady" as well as many other tunes.

Cast members from the original Broadway production lend the production a quaint authenticity. Sab Shimono, who originated the Manjiro role, plays the sagacious Lord Abe with style and aplomb and Alvin Y.F. Ing recreates his role of the Shogun's duplicitous mother. The breathtaking costumes by Junko Koshino keep the company flowing in silken finery. PACIFIC OVERTURES, a captivating and curious piece with a stunning score.