Jonny Lee Jr. (Manjiro) and Daniel May (Kayama) in “Pacific Overtures” at Signature Theatre. Photo by Daniel Rader.
Signature puts Japanese culture front and center.
It’s unlikely that you’ll leave Signature Theatre humming familiar show tunes from “Pacific Overtures,” set in 19th century Japan. You will, however, make many memories from the story of American ships forcing trade with this island country. As a longtime Stephen Sondheim fan, I have been remiss in seeing this musical before last Saturday afternoon. So there are no comparisons to the Kabuki-inspired, original Broadway production in 1976, nor any of the following six revivals that earned Tony nominations and worldwide acclaim.
…a talented 10-member cast, the innovative musical numbers and clear, concise direction by Ethan Heard…a memorable musical that should be seen over and over…
So, with a clean notebook and beaucoup d’enthusiasm, this critic left smitten by a talented 10-member cast, the innovative musical numbers and clear, concise direction by Ethan Heard—plus the tale of these people who lived in Japan at the time of America’s invasion. With music and lyrics by Stephen Sondheim and book by John Weidman, Signature’s “Pacific Overtures” tells the story of Japan’s westernization starting in 1853 after 250 years of isolation on this “floating island,” as the opening number suggests, “the Advantage of Floating in the Middle of the Sea.”
We are greeted by the Reciter (a superb actor, Jason Ma) and the ensemble who tell the tale through songs, dances, sword fights—all from the perspective of Japanese culture and tradition. Ma is clear and charming in the narration, and amazing when he takes on the role of a character like the Shogun (the supreme leader at that time). Still, the heart of the story involves two friends, Manjiro, a fisherman (Jonny Lee, Jr.) and Kayama, a down-and-out peasant (Daniel May), whose lives are turned upside down with the arrival of Americans, led by Admiral Matthew Perry (Nicholas Yenson who is also the Dance Captain) who is presented as a caricature in “The Ugly American.”
Some of the characters in the musical are based on real people, like John Manjiro who was only 14 years old (according to program notes) when his fishing boat was shipwrecked off the coast of Japan. He was rescued by an American whaling ship who brought him to the United States. Although it was against Japanese law to leave the island and later return, he decided to come home. Upon his return in 1851, he was interrogated by Samurai officials but released after he told them all about Americans. In the show, Jonny Lee, Jr. joins Daniel May in a rollicking game of singing Haiku “Poems.” In the second act, May sings my favorite song, “A Bowler Hat,” where the two friends question their sudden rise to power in their native land and seemingly wish for the old-fashioned traditions they have left behind.
In his book, “Finishing the Hat,” Sondheim writes that his favorite song is “Someone in a Tree”‘ from “Pacific Overtures.” He notes that he loves the song’s “ambition” and “its attempt to condense past, present and future.” The song is also an examination of how seemingly small things and choices add up to something much, much larger. In its imagery and simplicity:
“It’s the fragment, not the day
It’s the pebble, not the stream
It’s the ripple, not the sea
That is happening
Not the building but the beam
Not the garden but the stone
Only cups of tea
And history
And someone in a tree!”
Conductor Alexander Tom is hands-on throughout the show. Although the high-posted TVs were a slight distraction, I found it interesting that one could watch him lead the nine musicians scattered throughout the stage area. When he wasn’t waving his hands high and wide, he sat tapping out the drum beats on his lap from the huge Odaiko drum placed behind white gauze curtains. The set, too, was fascinating—a mini house up three large steps that lead to a wide walk where samurai show off their swordsmanship. Nicholas Yenson as Perry manages great moves with and without his trusty weapon while Japanese laborers bow to the Shogun (an imposing Eymard Menses Cabling), and later to the Emperor Meiji who is returned to power after the American invasion and the signing of “The Treaty of Kanagawa.”
Signature’s version features men in women’s roles, much like Kabuki. Andrew Cristi, as Mother of Shogun and others, offers comic relief with taunting comments and wicked facial expressions. In the finale of “Next,” this tall, lithe actor/dancer with a broad smile bops around the stage area with cool moves. As in Kabuki, the cross dressings works, as do the life-sized puppets that take on human traits, thanks to Helen Q. Huang’s designs. It all came together with the blending of voices in “Chrysanthemum Tea,” with a mixed group, including Shogun’s wife, his mother, his companion, his physician, a Soothsayer, and a Priest.
The set is minimal and muted white, highlighted by the colorful costumes, painted masks, and puppets. Lighting by Oliver Wason brings warmth to the family gatherings and coolness to the fight scenes. Ethan Heard is credited for his direction and musical staging, Here is a memorable musical that should be seen over and over to remind us, not only of Sondheim’s genius, but our country’s aggression and need to share our values with countries who don’t want them. I agree with Variety’s quote, “One of the great musicals of our time.”
Running Time: Two hours and 25 minutes including one 15-minute intermission.
“Pacific Overtures” runs through Sunday, April 9, 2023, at the Signature Theatre, 4200 Campbell Avenue, Arlington, VA 22206. For more information on Signature’s show-related events and tickets, go online.
