Threaded Order Chronological Order
| Spilling some tea on 'Pacific Overtures' | |
| Last Edit: WaymanWong 10:56 am EDT 06/21/22 | |
| Posted by: WaymanWong 10:40 am EDT 06/21/22 | |
| In reply to: re: Who would have won the Tony: Chita or Gwen - TheOtherOne 07:04 am EDT 06/21/22 | |
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| In 1976, Stephen Sondheim and John Weidman's ''Pacific Overtures'' must've seemed especially bold, to some, and baffling, to others. A Broadway concept musical about the Westernization of Japan, staged with Kabuki techniques, and an Asian-American cast, where men play the male and female roles (until the final number)? Plus, there were no stars. Is it any wonder audiences and critics were thrown off? Walter Kerr in the N.Y. Times: ''No amount of performing, or of incidental charm, can salvage 'Pacific Overtures.' [It] is essentially dull and immobile.'' John Simon in the New Leader: ''For tripe and pretentiousness combined, you can go to a contemporary musical, 'Pacific Overtures.' '' Howard Kissel, my former colleague at the N.Y. Daily News, then writing at Women's Wear Daily, gave it one of its few rave reviews. Still, it won Best Musical from the N.Y. Drama Critics Circle for 1975-1976. (''A Chorus Line'' won this prize for 1974-75.) In 1988, I interviewed Mako, its Tony-nominated star, for The Sondheim Review. And he recalled that 1976 was a time when Asian-Americans were not respected as full-time, professional actors and were only called in for race-specific roles. Mako also remembered performing at the 1976 Tonys and walking back to the Winter Garden, in their costumes, only to have passers-by jeer at them: ''Hey, why don't you all go back to China?'' Anyway, it's remarkable that ''Pacific Overtures'' played nearly 200 performances on Broadway and toured L.A. and San Francisco. It will always hold a special place in my heart because I saw it in S.F., and it began my lifelong affair with theater. In 1976, it was so rare to see a stagefull of Asian-American performers in a Broadway musical. And in 2022, many decades later, it still is. |
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| re: Spilling some tea on 'Pacific Overtures' | |
| Posted by: den 08:52 pm EDT 06/22/22 | |
| In reply to: Spilling some tea on 'Pacific Overtures' - WaymanWong 10:40 am EDT 06/21/22 | |
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| I saw the original when I was home in NYC from college over Christmas break. A New Years night performance, during previews. A friend and I had gotten tickets at the half price booth. Sitting in box seats at — was it the Winter Garden? In any case, it was thrilling. We were already big Sondheim fans, but this production blew us away. I loved its boldness and innovation and remember being disappointed only at the “Next” ending, which, at the time, I thought was a sellout, though I later realized that was exactly its function. I liked the two revivals I’ve seen since then (yes, even Doyle’s) but neither came close to the visceral thrill of that first production for me. | |
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| More on Pacific | |
| Posted by: BigM 02:35 pm EDT 06/22/22 | |
| In reply to: Spilling some tea on 'Pacific Overtures' - WaymanWong 10:40 am EDT 06/21/22 | |
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| I saw and loved the original Pacific Overtures, a breathtaking production. And though I am not very DEI oriented, I've always found it outrageous that, unlike with other Sondheim shows, the actors in that one did not generally go on to have musical theatre careers. You never saw Mako or Sab Shimono as Herbie, for example. Or as anyone in Company or Night Music or Follies... but you get the idea. | |
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| re: More on Pacific | |
| Last Edit: WaymanWong 07:48 pm EDT 06/22/22 | |
| Posted by: WaymanWong 07:42 pm EDT 06/22/22 | |
| In reply to: More on Pacific - BigM 02:35 pm EDT 06/22/22 | |
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| Especially back then, Asian-American actors were pigeonholed. They could play Asians in supporting roles, but not the leads. The most obvious example: Charlie Chan was played by Caucasians (Warner Oland, Sidney Toler), but Asians were relegated to playing No. 1 son. I asked Mako what he would've said if he had won the Tony for Leading Actor in a Musical in ''Pacific Overtues,'' and he replied: ''I wasn't going to accept it. I was going to refuse the Tony. Why? Asian-American actors have never been treated like full-time actors. We're always hired as part-timers [for only race-specific roles]. It a part was seen as too ''demanding,'' that part often went to a non-Asian. ...I would've thanked the people I worked with, but I didn't feel I could accept the award as long as Asian-Americans were not treated [as equals] in our profession.'' Mako was the first Asian-American Tony nominee for Leading Actor in 1976. Nearly 50 years later, no Asian man has won that: in musicals or plays. In 1991, Jonathan Pryce won for playing the Engineer in ''Miss Saigon.'' In the 2017 revival, Jon Jon Briones, a Filipino, couldn't even get nominated. |
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| lack of nom for Jon Jon Briones was criminal | |
| Posted by: Chazwaza 11:29 pm EDT 06/22/22 | |
| In reply to: re: More on Pacific - WaymanWong 07:42 pm EDT 06/22/22 | |
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| He blew me away in that revival, he was sensational. And not only that, but he'd been doing the role on and off for years and deserved to be acknowledged. And not that the Tonys need to be political or be existing in relationship to previous Tonys/history... but the Tonys knowing the situation with this role and Pryce winning for the role in the original seems like it would have warranted a "Briones *must* be nominated, no matter what" edict from the League... even if he were only mediocre in the role, which he was not at all. I would have taken away Borle's nom for Falsettos without a moment's hesitation (very much a Lead Tony nom worthy role, but I didn't love Borle in it, or his casting)... but even more, I'd have put David Hyde Pierce (in Dolly) in Featured where he belonged (which would have pushed out Lucas Steele - my pick to win, or Mike Faist, or Andrew Rannells or Brandon Uranowitz... and while all were good, I'd have been ok with any of those last 3 not being nominated if it worked out this way) Sadly I doubt Jon Jon or much of anyone could have beaten Ben Platt (in DEH) that year... but not even nominating him was ridiculous. |
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| re: lack of nom for Jon Jon Briones was criminal | |
| Last Edit: WaymanWong 01:37 am EDT 06/23/22 | |
| Posted by: WaymanWong 01:26 am EDT 06/23/22 | |
| In reply to: lack of nom for Jon Jon Briones was criminal - Chazwaza 11:29 pm EDT 06/22/22 | |
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| Jon Jon Briones was electrifying as the Engineer in ''Miss Saigon'' and deserved much better from the Tony nominators. In London, he received rave reviews and an Olivier Award nomination for ''Miss Saigon.'' In New York, the Drama Desk nominated Briones for Outstanding Actor in a Musical, and it would be the ONLY Drama Desk nomination that that revival got. Plus, he earned a Theatre World Award for his Broadway debut. In light of all that, it's sad that the Tony nominators didn't even think he was worth NOMINATING. ... As an ironic footnote, what does it say when a white actor in ''yellowface'' can WIN for the same role that an Asian-American actor can't even be nominated for? True, if he were nominated, Briones probably wouldn't have beat Ben Platt in ''Dear Evan Hansen.'' (By the way, the Drama Desk didn't even nominate Platt the year before.) However, I believe Briones was worthier of a Tony nomination than Christian Borle (''Falsettos''), Josh Groban (''The Great Comet'') and David Hyde Pierce (''Hello, Dolly!''). However, I've always believed that it's easier for Tony nominators to vote for people they know or recognize. And Borle, Groban and Hyde Pierce were far better-known than some unknown Filipino-American actor, so Briones lost out. Alas, the same thing happened to Briones on Ryan Murphy's mini-series ''The Assassination of Gianni Versace'' (2018). Darren Criss, a Filipino-American best known for ''Glee,'' was playing Andrew Cunanan, and he recommended Briones to play Cunanan's dad, Modesto. Murphy raved about Briones' tour de force, and Murphy wondered: ''Who are you? How come I don't know you?'' And Criss had to explain to Murphy that Asian-American actors rarely get opportunities at such juicy roles, so they're seldom known. By all rights, Briones should've gotten an Emmy nomination for Supporting Actor, but nope; Emmy voters passed him over for his more famous co-stars in ''Gianni Versace,'' like Edgar Ramirez and Ricky Martin. |
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| re: lack of nom for Jon Jon Briones was criminal | |
| Last Edit: Chazwaza 05:16 am EDT 06/23/22 | |
| Posted by: Chazwaza 05:04 am EDT 06/23/22 | |
| In reply to: re: lack of nom for Jon Jon Briones was criminal - WaymanWong 01:26 am EDT 06/23/22 | |
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| I obviously agree with you on how insane and unfortunate and shortsighted it was that Briones didn't end up with a nomination for this performance ... but I do think it's very important to take into consideration the scenarios. In 1991 Miss Saigon was a sensational new hit, the popular and impressive (to many) follow up of the writers of Les Miz, a show that took the world by storm. In was a transfer from being a huge hit in London, and the producer went to battle to maintain his leads and won. In 1991 Pryce was already a known and very respected actor -- not only had he won an Olivier for his performance in Miss Saigon the year before, he also was previously an Olivier winner and a *two time* Tony Award winner, and was also a movie star (films like Brazil brought him great acclaim and spotlight). None of this was true for Briones or for the show itself, which was returning at a time when I don't think there was very much enthusiasm for the show, not a sliver of what there was in 1990/91 ... it wasn't new, it wasn't fresh, it wasn't exciting... and beyond that, the role is far less sympathetic than Kim, and has a much much less showy singing role... and the casting of Kim did garner much more talk, and the amazing performance of Eva as Kim did earn her a deserved Tony nomination. Briones himself also was not a Broadway or London stage favorite, let alone an Olivier and double Tony winner at that point, or a known film or tv actor. I am definitely surprised that the story of Briones being a brilliant Asian actor doing the role as it should have been cast was a great story and should have helped him to a Tony nom, but it's hard to say if the story was highlighted and pushed enough, often enough, in the most effective ways, compared to Eva being the new Kim story... and fighting against disinterest in the show and the Broadway favorites competing for slots in this category... not to mention that the productions were being received in very different times, 25 years apart and by a different Tony committee. That doesn't mean racism couldn't have played in, I just don't think it is so clearly identifiably the reason. The scenario of the two actors and their performances in their respective productions of this show were just soooo different, I think there's a lot to look at before declaring Briones lack of nomination as racism, compared to white-actor Pryce's nom/win or not. I also think in some ways, Briones' year was tougher than Pryce's year. For what it's worth, neither Mandy Patinkin (already a Tony winning star of stage and screen) nor Robert Westenberg (or John Cameron Mitchell), all white, got Tony noms for The Secret Garden that year (which got many noms and several huge wins), nor did any of the black men from Once On This Island, nor the white men in Will Rogers Follies outside of Carradine. I was absolutely shocked and saddened that Briones didn't end up with an Emmy nom for his fantastic performance in the juicy role in Versace... but it certainly isn't the first time great performances by relatively unknown actors were past up for good/great/less impressive performances by much more famous actors. I think many voters would not even have seen far enough into the series to have an opinion on or knowledge of Briones performance, and voted, as many do, having seen little or just off their impression from trailers and first episode(s) and buzz/word of mouth. Many voters vote without having seen these things at all. Same as the Tonys, as you pointed out. For what it's worth I think Briones was really on the cusp- just barely not making the "cut" - of a nomination for Miss Saigon, but like you said the Broadway favorites won out. All gave what were generally thought of as Tony winning performances in Tony worthy roles (though I maintain that Hyde Pierce was in the wrong category, but he is a name star and I think his name was above the title - again not the first time that kind of thing happens and throws off what is fair in categorizing or awarding noms/wins) -- and even assuming some racism, I still don't understand how it happened (I think the white guilt many voters would feel balances out the racism that would have contributed -- i guess it depends on who made up the nominating committee, but we can never know what guided them to the ultimate selection for the nominations). Also, as we know, the voting body doesn't sit around together and decide who to give what award to... if anyone can be blamed for Briones not being recognized by the Tonys it's the nominating committee, but I honestly don't even know how that's done... for what it's worth, the Falsettos revival was a much more welcomed revival than a Miss Saigon rehash of the same basic production of a problematic show -- Falsettos was a relatively short-run 90s musical people wanted to revisit/revive, Miss Saigon was a long running 90s hit musical that people weren't so excited to rehash/revive, and its many male acting noms definitely had a lot to do with Briones not making the cut (as did the Hyde Pierce category ruling). And perhaps the blame for Briones lack of Emmy nom is in the hands of Ryan Murphy and FX and their marketing team who either didn't campaign enough or at all or the right way to get Briones in there despite his lack of name recognition. Who can say. |
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| re: lack of nom for Jon Jon Briones was criminal | |
| Last Edit: WaymanWong 09:37 am EDT 06/23/22 | |
| Posted by: WaymanWong 09:22 am EDT 06/23/22 | |
| In reply to: re: lack of nom for Jon Jon Briones was criminal - Chazwaza 05:04 am EDT 06/23/22 | |
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| Yes, I'm well-aware that Jonathan Pryce arrived better-known in ''Miss Saigon'' than Jon Jon Briones, who was making his Broadway debut. (Yet Eva Noblezada was making her Broadway debut, too, and she got a Tony nomination.) Pryce won his first Tony for Featured Actor back in 1977 for Trevor Griffiths' 'Comedians.'' He wouldn't win his second one until ''Miss Saigon'' in 1991. And ironically, I believe the casting controversy actually raised his profile and made him better-known in New York. ... As I also noted, I think Briones got edged out by better-known performers (who happen to be white). I'm hesitant to throw around the R word, which is why I never used in my posting, but whatever the factors, the end result and optics are the same: A white actor won a Tony for the Engineer; an Asian-American actor didn't get nominated. I'd add that history speaks for itself: Only 3 South Asian men have ever been Tony-nominated for Lead Actor. None have won. In Tony's 75-year history, they haven't had many opportunities. And you can't win an award if you're not even nominated. As for Briones' lack of an Emmy nom, I'll add one more bit of context: It's hard for ANYONE to get an Emmy nomination, thanks to the huge explosion of TV shows on broadcast, cable and streaming. And even though ''Gianni Versace'' won tons of Emmys, including Best Limited Series, Directing, etc., it's possible many voters didn't even get to see Briones' performance because it was in the 8th, and penultimate, episode. For the record, I give props to Ryan Murphy and his P.R. team. During that awards season, they DID include Briones in their Emmy campaign, and put him on panels, alongside Criss, Ramirez, Martin, etc. Obviously, they didn't have to, but that's how much they respected Briones' contribution. Asian actors are starting to make some headway in showbiz awards. But it's slow. In 2021, Steven Yeun from ''Minari'' became the first East Asian and Asian-American actor to be nominated for Best Actor ... in the Academy's nearly 100-year history. And from that same movie, Korean actress Youn Yuh-jung WON the Oscar for Supporting Actress - the first Asian to do so since Miyoshi Umeki for ''Sayonara'' (1958) - over 6 decades ago. And I was stunned that a pair of Korean actors, Lee Jung-jae and Hoyeon, WON the leading SAG Awards for ''Squid Game.'' How long will it take for Asian-American actors to win comparably historic victories at the Tonys? Only time will tell! |
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| re: More on Pacific | |
| Posted by: showtunetrivia 05:13 pm EDT 06/22/22 | |
| In reply to: More on Pacific - BigM 02:35 pm EDT 06/22/22 | |
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| Absolutely. There were some incredible talents in the OVERTURES cast. I suspect Mark Hsu Syers would have had a wonderful career on Broadway, had he not died so young. I do consider myself fortunate to have seen a number of the PO actors in other shows here in LA, usually at the EWP. Including Sab Shimono as Ben in FOLLIES. :) Laura in LA, usually looking enviously at you folks in NYC—shout out, West Coast! |
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| re: Spilling some tea on 'Pacific Overtures' | |
| Posted by: showtunetrivia 12:24 am EDT 06/22/22 | |
| In reply to: Spilling some tea on 'Pacific Overtures' - WaymanWong 10:40 am EDT 06/21/22 | |
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| I love this show so much. Saw the tour, saw Mako’s production at the East West Players (with Mako, as the Reciter, practically close enough to touch from my front row seat), and felt thrilled to take my kids to the EWP’s inaugural production for their new David Henry Hwang Theatre. Laura in LA |
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| Another oral history of Pacific Overtures | |
| Posted by: DistantDrumming 09:52 pm EDT 06/21/22 | |
| In reply to: Spilling some tea on 'Pacific Overtures' - WaymanWong 10:40 am EDT 06/21/22 | |
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| Wayman, forgive my foggy memory, but didn't you also post a brief oral history of Pacific Overtures with other original cast members beyond Mako? I don't recall if this was something you were personally responsible for or something you brought to our attention, but I vaguely recall you posting it here in the past and remember finding it interesting. It really IS remarkable that Pacific Overtures made it to Broadway, in such grand fashion and so authentically cast. I can't imagine we'll ever get a proper revival (with a full cast and orchestra) outside of perhaps an opera company or major not-for-profit like LCT. |
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| It's the Day of the Chat, my lord | |
| Last Edit: WaymanWong 11:07 pm EDT 06/21/22 | |
| Posted by: WaymanWong 10:55 pm EDT 06/21/22 | |
| In reply to: Another oral history of Pacific Overtures - DistantDrumming 09:52 pm EDT 06/21/22 | |
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| Yes, DistantDrumming, that was me. I've always thought the original Asian-American cast of ''Pacific Overtures'' never got the credit or due they deserve. Even in Craig Zadan's superb book "Sondheim & Co.,'' he seemed to include interviews with cast members from every Sondheim show, except ''Pacific Overtures.'' ... "And though [the creators] have their own official version,'' I thought: ''What a shame that there is no authentic Asian-American account of what took place on that historic [show].'' So I tracked down Mako, Soon-Tek Oh and Sab Shimono for their oral history. My article ran in the Spring 1988 issue of The Sondheim Review: Actors Remember 'Pacific Overtures.' For a long time, my story was readily available online, but in recent years, I've had trouble accessing it and get: ''Your connection is not private.'' (Huh?) If you Google, maybe you'll have better luck. Meantime, another site devoted to Mako has featured my interview with him (but not included my chats with Soon-Tek or Sab). P.S. There's a typo in my Mako interview. I quoted him as saying he lost the Tony to Stanley Holloway, but he actually meant George Rose. |
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| Link | Mako: A Tribute to a Fine Actor (includes my Sondheim Review interview with him) |
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| re: Spilling some tea on 'Pacific Overtures' | |
| Posted by: keikekaze 03:56 pm EDT 06/21/22 | |
| In reply to: Spilling some tea on 'Pacific Overtures' - WaymanWong 10:40 am EDT 06/21/22 | |
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| I saw that same production in San Francisco and loved it. I wasn't quite a professional critic yet (that would begin in 1979), but I would have picked it as the best Broadway musical of 1975-76--yes, over both A Chorus Line and Chicago. I certainly played the cast album by far the most often of the three. | |
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| it's also an exceptionally original, intelligent, witty, stunningly beautiful piece of musical theater | |
| Last Edit: Chazwaza 03:19 pm EDT 06/21/22 | |
| Posted by: Chazwaza 02:56 pm EDT 06/21/22 | |
| In reply to: Spilling some tea on 'Pacific Overtures' - WaymanWong 10:40 am EDT 06/21/22 | |
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| I know it's not everyone's cup of tea as a play or a musical, and it was never going to be -- a lot of audiences don't want that kind of show, a lot don't get it, and some who do don't care for it or don't care about it ... that's fine. It's definitely for me, and I think it's amazing every time I see it (the filmed original, the revival, or other revivals I've seen) or listen to it. I have been lucky enough to work on it too and it's just amazing from the inside too. I think the show has never gotten its proper due, I mean not even Hal and his amazing designers got their due in an undeniably mindblowing directorial/designer showcase, and neither did that amazing original cast, or that insane Sondheim score (I also happen to this Weidman wrote an remarkable achievement of a book for it, if maybe about 10-15 minutes too long) ... though I am glad it got many Tonys noms when it came out, and all of those elements (Musical, Score, Book, Direction, Scenic, Lighting, Costume, and Choreo all got recognized ... only the cast didn't grab many, but outside of Mako, who did, it's hard to stand out in that kind of ensemble against musicals with SO many amazing lead and featured roles as Chicago and ACL) --- who knows how it would have fared in a season less crowded with sensational new musicals (any season with A Chorus Line and Chicago and Pacific Overtures is uniquely crowded with material, performances, direction, choreo, and designing to appreciated, drool over, and award)... but it would be a massive challenge and bizarre anomaly in any season. I do think the 2005 Broadway revival should have won the Tony for Best Revival over that revival of La Cage. What a stunning production that was. Not perfect, but my goodness... |
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| Making brazen 'Overtures' | |
| Last Edit: WaymanWong 11:28 pm EDT 06/21/22 | |
| Posted by: WaymanWong 11:22 pm EDT 06/21/22 | |
| In reply to: it's also an exceptionally original, intelligent, witty, stunningly beautiful piece of musical theater - Chazwaza 02:56 pm EDT 06/21/22 | |
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| ''Pacific Overtures'' (1976) is one of the most visually stunning Broadway shows I've ever seen. I'm thrilled that the Tony voters rewarded Florence Klotz for her ravishing costumes and Borin Aronson for his breathtaking sets. I can still picture his big ''black dragon'' of Perry's ship onstage. Wow! Given that its cast was mostly unknown Asian actors, I guess it's fortunate that Mako and Isao Sato got Tony nominations. The critics didn't help. In the reviews, the actors seldom got singled out. Maybe it's the ensemble nature of the show. Rex Reed thought it was just a Japanese troupe. (Shimono told me he auditioned for the Engineer in ''Miss Saigon'' but was told he couldn't do it: ''A total lie. Instead, [they cast] Jonathan Pryce.'') By the way, I agree that the 2004 revival of ''Pacific Overtures,'' directed by Amon Miyamoto, definitely should've won the Tony for Musical Revival. And the less said about John Doyle's 2017 Off-Broadway revival, which reduced it to one-act and cut ''Chrysanthemum Tea,'' the better! |
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| He cut "Chrysanthemum Tea?" That is an outrage! | |
| Last Edit: BigM 02:30 pm EDT 06/22/22 | |
| Posted by: BigM 02:30 pm EDT 06/22/22 | |
| In reply to: Making brazen 'Overtures' - WaymanWong 11:22 pm EDT 06/21/22 | |
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| I generally like intimate productions of big shows; probably the best theatre piece I ever saw was a teeny production of the Scottish play with Ian McKellen and Judi Dench in London. But cutting that wonderful number is inexcusable. | |
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| re: He cut "Chrysanthemum Tea?" That is an outrage! | |
| Last Edit: Chazwaza 04:59 pm EDT 06/22/22 | |
| Posted by: Chazwaza 04:52 pm EDT 06/22/22 | |
| In reply to: He cut "Chrysanthemum Tea?" That is an outrage! - BigM 02:30 pm EDT 06/22/22 | |
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| Oh that was just the beginning. He cut lots of stuff, but that was the only full song. The show was done as a 90 minute one-act musical, cutting at least 40 minutes of the original show. What I find especially bizarre is when new productions try very hard to pretend the show was not conceived and written, in structure and dialogue especially, as a piece of Kabuki theater mixed with a musical. Kabuki is quite different than the kind of thing Broadway or American audiences are used to seeing. But this show was *written* to take on many of the kabuki theatrical essentials and styles. To take that away, like it's just any old musical, only makes the show harder to wrap ones head around and get into. The 2005 Broadway revival did it as more of a mix of Noh and Kabuki and modern, but that all works because Noh is also an ancient and extremely stylized form of Japanese theater, and that as well as Bunraku are inherently in or possible in the show as it was written/conceived. Doyle seemed to want to forget all of that and just treat it like stripping down any musical... and it just isn't the same thing. If you don't want to do Pacific Overtures then don't do Pacific Overtures... |
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| What a traves-'Tea,' indeed! | |
| Last Edit: WaymanWong 07:27 pm EDT 06/22/22 | |
| Posted by: WaymanWong 07:11 pm EDT 06/22/22 | |
| In reply to: re: He cut "Chrysanthemum Tea?" That is an outrage! - Chazwaza 04:52 pm EDT 06/22/22 | |
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| According to an actor in that 2007 revival, Doyle cut down ''Pacific Overtures'' to 90 minutes, so he could ''focus'' on the relationships among Manjiro, Kayama and Lord Abe. If that's the criteria, why did he keep, say, ''Someone in a Tree'' or ''Pretty Lady,'' which are not related to that trio? ... Doyle told American Theatre he cut ''Chrysanthemum Tea'' because ''there's a slight tendency for comedy to thrive at the expense of the Japanese. ... There was a danger of 'Chrysanthemum Tea' ... eliciting humor.'' So why did Doyle keep ''Welcome to Kanagawa,'' which also elicits humor? Ironically, Doyle claims this is his favorite Sondheim show. But if you change it so much, is it ''Pacific Overtures'' anymore? The Signature Theatre in Arlington, Va., a Tony-recognized regional theater, has announced it's reviving ''Pacific Overtures'' in their next season. But did anyone see their 2005 revival of ''Pacific Overtures,'' directed by Eric Schaeffer? It featured an all-Caucasian cast and a woman as the Reciter. Musicals that feature good roles for Asians are rare enough; if you're going to cast white actors in ''Pacific Overtures,'' why not just do ''The Mikado''? I'm hoping the Signature's upcoming revival features Asian-American actors and DOES NOT use any of Doyle's cuts! (Thank goodness, Japanese TV shot the original ''Pacific Overtures'' and it lives on, on YouTube, in all its grandeur and glory!) |
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| re: What a traves-'Tea,' indeed! | |
| Posted by: Chazwaza 10:58 pm EDT 06/22/22 | |
| In reply to: What a traves-'Tea,' indeed! - WaymanWong 07:11 pm EDT 06/22/22 | |
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| Absolutely. The original script/score understood the choices it was making... it wasn't giving more time to Manjiro and Kayama's relationship (let alone Lord Abe) because the piece is not *about* them (hence why there's only one song for them together, and none of the other songs, even the ones they sing, are directly about their relationship as friends or their feelings about it -- the show does track them both as the focal point/anchor, but not exclusively their relationship... their journeys as are much real as they are symbolic), it tells many stories, the stories of the reactions and impact of this major event on the local people of Japan, and uses that relationship as a throughline and stand-in for a larger view of the evolution of Japan and the internal conflict as a nation/culture/people. The style of play they were doing intentionally does not do what Doyle seems to have wanted it to be doing. And yes, why leave Welcome to Kanagawa which is even more of a comedy song than Chrysanthemum Tea and also shows focuses on Japanese prostitutes and their Madame, which in theory is an even more risky line to walk in terms of who the joke is "on", and in what ways the Japanese are portrayed to American audiences. I think both songs are brilliant, in no way problematic (so to speak) and are both very valid, clever and interesting viewpoints to see as the country responses to this situation of the arrival of the war ships. Cutting one for the reason he gives, but not the other, is silly. I think Tea was just at least twice as long, and that's why. But yes... is it the show anymore? And how could this be your favorite Sondheim show but cut 40+ minutes from it and 1 of the 11 songs. And yes... any theater, especially a theater of such note and resources as Signature, producing this show with any non-asians in the cast, let alone an entirely white cast, is a bad idea... I'd be very curious what the intention and concept was, surely there must have been because it's not as if they didn't have the resources to have an asian or even mostly-asian cast. And Eric Shaeffer is not a bad or stupid director - he's not the best, but he's done many excellent productions and had a long run as Artistic Director of that major theater and a long relationship with doing Sondheim shows. I also have to assume Sondheim and Weidman were made aware of this production and didn't shut it down... I have to think there was something being tried that they wanted to explore. But it is so in conflict with the concept and intention of the piece. I saw it done at NYU when I was in high school i think, and even with a mixed-race cast, it didn't work for me. But I also would like the piece to get done. So I don't know. But at the level of Signature, I do not get it. I think there's absolutely no chance this upcoming Signature production will have any non-Asian people in it, but who ever knows. |
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| Doyle's P. Overtures was a travesty | |
| Posted by: Chazwaza 02:45 am EDT 06/22/22 | |
| In reply to: Making brazen 'Overtures' - WaymanWong 11:22 pm EDT 06/21/22 | |
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| Not only did I loathe it, I was infuriated about what he'd done to it... and even more that it was not only allowed by Sondheim and Weidman, but they'd been involved. Not as a purest even, but the musical presented made little sense, and was a betrayal of the entire concept of the show and its existence... I was baffled in ways I didn't even know I could have been. But it also took a beautiful musical and made it ... ugly? |
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| The less said about ANY John Doyle musical... | |
| Posted by: DistantDrumming 12:02 am EDT 06/22/22 | |
| In reply to: Making brazen 'Overtures' - WaymanWong 11:22 pm EDT 06/21/22 | |
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| ... the better. It still rubs me the wrong way that his "style" of teeny tiny musicals became the standard for Sondheim revivals for a while. Sondheim was a genius, but he seemed to be very... tolerant of questionable direction and production when it came to his revivals. I guess it was compromise or don't get produced? | |
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