There’s a lot to admire with this production of the rarely seen Pacific Overtures, not least the fact that someone actually dared to do it. Opening on Broadway in 1976, receiving mixed reviews, it closed six months later, despite 10 Tony Award nominations. Like Passion, which followed years later, it is, to many, one of Sondheim’s least accessible and least embraceable scores – the irony of that being that it contains the great man’s favourite song, ‘Someone In A Tree’. It is a problematic show and this production from a hugely talented bunch of thespians, highlights exactly why.
Telling the story of the American invasion of Japan in 1853, and the consequent Westernisation of a country shut off from the outside world for over 200 years, Pacific Overtures is epic in its lofty goals but intimate in its telling. Sondheim’s score is interesting because you can hear in it elements from his other shows including Sweeney Todd, Assassins, Sunday In The Park With George and Into The Woods. This is surprising because most of Sondheim’s scores are truly unique to themselves. The original, along with most of the subsequent main productions, utilises a predominantly Asian cast to inject some authenticity. Of note (and quite famously), the original production, directed by Hal Prince, also adopts the Kabuki style of storytelling, with men playing the women and the stagehands, puppeteers and cast in black to move sets etc. in full view of the audience.
Director Alister Smith has decided to use the same style here with mixed results. His predominantly Caucasian cast, in white face and white robes and mixed with men and women, work hard to create a real world that we can visit with some sense of truth. There are moments however – when the stage is mainly populated with Aussies – that there is a feeling that we are watching a pantomime instead of a theatrical style steeped in 400 years of Japanese tradition. The problem is that it all feels half-hearted, accentuated by other moments that are simply written and/or staged as out-and-out musical comedy.
The issue, for this reviewer at least and for some I spoke to at interval, is Act One. Opening on Eugyeene Teh’s stunningly simple black and white set complemented by evocative and mood-enhancing lighting by Rob Sowinski, we are invited into the world of the shogun, the samurai and a land entrenched in tradition. Anton Berezin, with his rich voice and commanding presence, leads us through the story and its myriad of characters. Yet, as we get to know each person and we hear another discordant Sondheim song, we remain distinctly detached from the story. It feels as though the show doesn’t know what it wants to be. And frankly, not a lot happens.
Then at the end of the act, a little miracle occurs. ‘Someone In A Tree’ is performed. Led by the multi-talented Leighton Young, this simple piece of musical perfection not only reaches for your heart but shows you what the show could be. It is one of the few truly authentic moments of the night, and bittersweet, but you are left to wonder why the writers struggle to find that beauty with the rest of the show.
If you walk out of Act One admiring and respecting the production, then you deserve to be rewarded. And that payoff is the magnificent Act Two. It starts with the complex but hilarious, ‘Please Hello’, which not only showcases the level of talent involved but receives the largest response from the crowd of the night. The rapturous response could also have been a sense of relief that the audience is finally getting to see something truly special. Act Two also rewards us with ‘A Bowler Hat’, staged to perfection and summary of the overarching theme of the show, and ‘Pretty Lady’, probably the most famous song from the show thanks to, ‘Side By Side By Sondheim’. Beautifully sung, I feel there could be some more thought to the nuance of the piece to truly make the reality of the scene counterpoint the beauty of the melody. But kudos must be given to Bianca Baykara for her delicate and heartbreaking portrayal of the ‘pretty lady’.
The cast are uniformly tight and strong, and, as an ensemble, produce stunning vocals. Sondheim is not easy and Pacific Overtures is particularly tricky. But this talented team never misses a beat and sound fantastic, and, even for the most part, conquer the space’s tricky acoustics. No one is miked, but it hardly matters. It would be ideal to hear all of the brilliant lyrics but, for the most part, we pick up what is important. There seems to be tentativeness, on occasion, from some of the actors in terms of staging, but that may be due to it being early in the season, combined with a short rehearsal period. Special mention must be made to the heart and dignity that Adrian Li Donni brings to the role of Kayama. Stealing the production for me is Nick Simpson-Deeks as Manjiro. Imbuing his character with realism rare in musical theatre, and blessed with a singing voice of consummate strength and beauty, the stage is poorer when he is not on it.
Ignoring the aforementioned style issue, Smith’s staging is very impressive overall. He paints some wonderful theatrical pictures and manages to move the cast fairly seamlessly. I only wish he fully embraced the style he wants and has the courage of his convictions to go with it 100%. Michael Ralph’s choreography is also stunning in parts. He obviously infuses himself in the score as it complements Robyn Womersley’s flawless orchestra perfectly. Again, with his mainly Caucasian cast there are moments, especially in the finale, when most of the cast were in black, where it feels more like a rock eisteddfod.
So make no mistake, this production has flaws. But those flaws mainly stem from the musical itself and attempting to stage it here in Australia where there are casting limitations. It’s interesting to note that the parts of the production that work best are where the casting isn’t an issue, and the likes of Young and Li Donni, both seemingly from Asian heritage, and Simpson-Deeks, playing an American, shine bright.
But also don’t make the mistake of not seeing this production because of those flaws. If you call yourself a musical theatre – or even just a theatre – aficionado, then you must see it. It is to be admired, respected and discussed. Like many flawed pieces and noble failures, there is a lot to love and this production certainly honours those moments.
Rating: 4 out of 5 stars
Pacific Overtures
Presented by Watch This, Manilla Street Productions and Auspicious Projects in association with Theatre Works
Music and Lyrics by Stephen Sondheim
Book by John Weidman with additional material by Hugh Wheeler
Directed by Alister Smith
Musical Direction by Robyn Womersley
Choreography by Michael Ralph
Cast: Bianca Baykara, Anton Berezin, Reece Budin, Emma Clair Ford, Jacqui Hoy, Andrew Kroenert, Adrian Li Donni, Noni McCallum, Tim Paige, Nick Simpson-Deeks, Elenor Smith Adams, Sonya Suares and Leighton Young
Theatre Works, Acland St, St Kilda
www.theatreworks.org.au
19 February – 9 March
