Pacific Overtures, Classic Stage Company, Downtown NY

3/5

Written by Colm Molloy

Perhaps one of Sondheims lesser-known musicals, this revival of Pacific Overtures at the
Classic Stage Company in Downtown Manhattan brings the American Musical much closer
to traditions of Kabuki and Noh than in any previous incarnation.

John Doyles economy of means as a director is to be commended; its success has been proved
in his heralded revivals of Company and Sweeney Todd with actor-musicians, and the small-
scale chamber production of Passion. The effect of simplicity is undiminished in Pacific
Overtures, but he has made some lengthy cuts (with permission of Sondheim and Weidman I
hasten to add) that gloss over the epic historicity of Commodore Perrys invasion of 19th
Century Japan and its civilians, and dilutes the piece, rather than condenses. However,
subtlety is to its merit; the bare white stage and plain costumes mimic the near blank screens
the company sings about, and are a fresh contrast to the commerce replete in surrounding
theatres.

There are some standout performances. George Takei (of Star Trek) commands authority
onstage and off as the Reciter, admittedly with less material than usual, and Ann Harada
succeeds as the bolshie, yet sexually charismatic Madam in Welcome to Kanagawa. Still,
much of the show conflates simplicity for scarcity, with gormless expressions and hesitated
steps and movements, all in a half-hearted attempt to articulate the missing religiosity of the
show.

Its not all a disappointment. Although Sondheim fanatics might miss Chrysanthemum Tea
and the more coherent full versions of the opening and closing, the company presents a lean,
almost farcical reimagining of the story. The fast paced and hilarious Please, Hello, and the
contemplative and rousing Someone in a Tree are all exceptional moments, and left the
audience agog.

The essence of the show is not lost, if just muddied. The nine-piece band is full blooded, even
if authentic Japanese instruments are relegated to a MIDI keyboard. John Doyle has created a
slender alternative to the richness of the original material. Sondheims disciples might not
forgive his alterations, and indeed may still plead for two acts over one, but the real joy is the
existence of any revival of this otherworldly piece.