Pacific Overtures

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Pacific Overtures
Pacific Overtures (1976).jpg
Artwork for the original Broadway cast recording
Music Stephen Sondheim
Lyrics Stephen Sondheim
Book John Weidman
Productions 1976 Broadway
1984 Off-Broadway
1987 English National Opera
2003 West End
2004 Broadway revival
2014 Off-West End
2017 Off-Broadway revival
Pacific Overtures is a musical with music and lyrics by Stephen Sondheim, and a
book by John Weidman.

Set in 19th-century Japan, it tells the story of the country's westernization

starting in 1853, when American ships forcibly opened it to the rest of the world.
The story is told from the point of view of the Japanese, and focuses in particular
on the lives of two friends who are caught in the change.

Sondheim wrote the score in a quasi-Japanese style of parallel 4ths and no leading
tone. He did not use the pentatonic scale; the 4th degree of the major scale is
represented from the opening number through the finale, as Sondheim found just five
pitches too limiting. The music contrasts Japanese contemplation ("There is No
Other Way") with Western ingenuousness ("Please Hello") while over the course of
the 127 years, Western harmonies, tonality and even lyrics are infused into the
score. The score is generally considered to be one of Sondheim's most ambitious and
sophisticated efforts.[1]

The original Broadway production of Pacific Overtures in 1976 was staged in Kabuki
style, with men playing women's parts and set changes made in full view of the
audience by black-clad stagehands. It opened to mixed reviews and closed after six
months, despite being nominated for ten Tony Awards.

Given its unusual casting and production demands, Pacific Overtures remains one of
Stephen Sondheim's least-performed musicals. The show is occasionally staged by
opera companies. The cast requires an abundance of gifted male Asian actors who
must play male and female parts. Women join the ensemble for only half of the last
song; during the finale, after the lyric: “more surprises next,” 20 female actors
join the cast and sing the remaining 1:42 of the show. This creates expensive and
challenging casting and thus most regional and community theaters, universities and
schools are unable to produce it.

The most recent revival in 2017 at Classic Stage Company, helmed by John Doyle and
starring George Takei as The Reciter, featured a cast of only 10 people, 8 men and
2 women. This also featured a revised book by John Weidman that had a running time
of 90 minutes (as compared to the previous 2 hour 30 minute original run time).

Contents
1 Title
2 Productions
3 Plot summary
4 Original Broadway cast — characters
5 2004 Broadway revival cast — characters
6 2017 Off-Broadway revival cast — characters
7 Musical numbers
8 Critical response and analysis
9 Awards and nominations
9.1 Original Broadway production
9.2 2003 West End Revival
9.3 2004 Broadway revival
9.4 2017 Off-Broadway revival
10 See also
11 Notes
12 References
13 External links
Title
The title of the work is drawn directly from text in a letter from Admiral Perry
addressed to the Emperor dated July 7, 1853:

"Many of the large ships-of-war destined to visit Japan have not yet arrived in
these seas, though they are hourly expected; and the undersigned, as an evidence of
his friendly intentions, has brought but four of the smaller ones, designing,
should it become necessary, to return to Edo in the ensuing spring with a much
larger force.

But it is expected that the government of your imperial majesty will render such
return unnecessary, by acceding at once to the very reasonable and pacific
overtures contained in the President's letter, and which will be further explained
by the undersigned on the first fitting occasion."[2]

In addition to playing on the musical term "overture" and the geographical

reference to the Pacific Ocean there is also the irony, revealed as the story
unfolds, that these "pacific overtures" to initiate commercial exploitation of the
Pacific nation were backed by a none too subtle threat of force.[2]

Productions
Pacific Overtures previewed in Boston and ran at The Kennedy Center for a month
before opening on Broadway[3] at the Winter Garden Theatre on January 11, 1976. It
closed after 193 performances on June 27, 1976. Directed by Harold Prince, the
choreography was by Patricia Birch, scenic design by Boris Aronson, costume design
by Florence Klotz, and lighting design by Tharon Musser. The original cast
recording was released originally by RCA Records and later on CD. This production
was nominated for 10 Tony Awards, and won Best Scenic Design (Boris Aronson) and
Best Costume Design (Florence Klotz). The original Broadway production was filmed
and broadcast on Japanese television in 1976.[4]

An off-Broadway production ran at the Promenade Theatre from October 25, 1984 for
109 performances, transferring from an earlier production at the York Theatre
Company. Directed by Fran Soeder with choreography by Janet Watson, the cast
featured Ernest Abuba and Kevin Gray.[5]

The European premiere was directed by Howard Lloyd-Lewis (Library Theatre,

Manchester) at Wythenshawe Forum in 1986 with choreography by Paul Kerryson who
subsequently directed the show in 1993 at Leicester Haymarket Theatre. Both
productions featured Mitch Sebastian in the role of Commodore Perry.

A production was mounted in London by the English National Opera in 1987. The
production was recorded in its entirety on CD, preserving nearly the entire
libretto as well as the score.[6][7]

A critically acclaimed 2001 Chicago Shakespeare Theater production, directed by

Gary Griffin,[8] transferred to the West End Donmar Warehouse, where it ran from
June 30, 2003 until September 6, 2003 and received the 2004 Olivier Award for
Outstanding Musical Production.[9][10]

In 2002 the New National Theatre of Tokyo presented two limited engagements of
their production, which was performed in Japanese with English supertitles. The
production ran at Avery Fisher Hall, Lincoln Center from July 9, 2002 through July
13, and then at the Eisenhower Theater, Kennedy Center, from September 3, 2002,
through September 8.[11][9]

A Broadway revival by the Roundabout Theatre Company (an English-language mounting

of the previous New National Theatre of Tokyo production) ran at Studio 54 from
December 2, 2004, to January 30, 2005, directed by Amon Miyamoto and starring BD
Wong as the Narrator and several members of the original cast. A new Broadway
recording, with new (reduced) orchestrations by Jonathan Tunick was released by PS
Classics, with additional material not included on the original cast album.[6] The
production was nominated for four Tony Awards, including Best Revival of a Musical.
The orchestrations were "scaled back" for a 7-piece orchestra. Variety noted that
"the heavy use of traditional lutes and percussion instruments like wood blocks,
chimes and drums showcases the craftsmanship behind this distinctly Japanese-
flavored score."[12]

In 2017, Classic Stage Company revived Pacific Overtures for a limited run Off-
Broadway, with a new abridged book by John Weidman[13] and new orchestrations by
Jonathan Tunick. This production was directed by current Artistic Director John
Doyle and starred George Takei as the Reciter. It began previews on April 6, 2017
and opened on May 4, 2017. Originally scheduled to close on May 27, it was extended
twice, and closed on June 18, 2017.[14] This production was a New York Times
Critic's Pick, Variety 's 2017 Top 5 NY Theater Production, and Hollywood Reporter
's 2017 Top 10 NY Theater Production. It also received numerous nominations from
the Drama Desk, Drama League, Outer Critics Circle, and Lucille Lortel Awards. This
version ran as a 90-minute one-act[15] with a 10-member cast in modern-dress and
included all the songs from the original production except for "Chrysanthemum Tea"
and eliminated the instrumental/dance number "Lion Dance".[13][16]

Plot summary
Act I
Conceived as a Japanese playwright's version of an American musical about American
influences on Japan, Pacific Overtures opens in July 1853. Since the foreigners
were expelled from the island empire, explains the Reciter, elsewhere wars are
fought and machines are rumbling, but in Nippon they plant rice, exchange bows and
enjoy peace and serenity, and there has been nothing to threaten the changeless
cycle of their days ("The Advantages of Floating in the Middle of the Sea"). But
President Millard Fillmore, determined to open up trade with Japan, has sent
Commodore Matthew C. Perry across the Pacific.

To the consternation of Lord Abe and the Shogun's other Councillors, the stirrings
of trouble begin with the appearance of Manjiro, a fisherman who had been lost at
sea and rescued by Americans. He has returned to Japan and now attempts to warn the
authorities of the approaching warships, but is instead arrested for consorting
with foreigners. A minor samurai, Kayama Yezaemon, is appointed Prefect of Police
at Uraga to drive the Americans away - news which leaves his wife Tamate grief-
stricken, since Kayama will certainly fail and both will then have to commit
seppuku. As he leaves, she expresses her feelings in dance as two Observers
describe the scene and sing her thoughts and words ("There Is No Other Way"). As a
Fisherman, a Thief, and other locals relate the sight of the "Four Black Dragons"
roaring through the sea, an extravagant Oriental caricature of the USS Powhatan
pulls into harbor. Kayama is sent to meet with the Americans but he is laughed at
and rejected as not being important enough. He enlists the aid of Manjiro, the only
man in Japan who has dealt with Americans, and disguised as a great lord Manjiro is
able to get an answer from them: Commodore Perry must meet the Shogun within six
days or else he will shell the city. Facing this ultimatum, the Shogun refuses to
commit himself to an answer and takes to his bed. Exasperated by his indecision and
procrastination, his Mother, with elaborate courtesy, poisons him. ("Chrysanthemum
Tea").

Kayama devises a plan by which the Americans can be received without technically
setting foot on Japanese soil, thanks to a covering of tatami mats and a raised
Treaty House, for which he is made Governor of Uraga. He and Manjiro set off for
Uraga, forging a bond of friendship through the exchange of "Poems". Kayama has
saved Japan, but it is too late to save Tamate: when Kayama arrives at his home, he
finds that she is dead, having committed seppuku after having received no news of
Kayama for many days. Already events are moving beyond the control of the old
order: the two men pass a Madam instructing her inexperienced Oiran girls in the
art of seduction as they prepare for the arrival of the foreign devils ("Welcome to
Kanagawa").

Commodore Perry and his men disembark and, on their "March to the Treaty House",
demonstrate their goodwill by offering such gifts as two bags of Irish potatoes and
a copy of Owen's "Geology of Minnesota". The negotiations themselves are observed
through the memories of three who were there: a warrior hidden beneath the floor of
the Treaty House who could hear the debates, a young boy who could see the action
from his perch in the tree outside, and the boy as an old man recalling that
without "Someone In a Tree", a silent watcher, history is incomplete. Initially, it
seems as if Kayama has won; the Americans depart in peace. But the barbarian figure
of Commodore Perry leaps out to perform a traditional Kabuki "Lion Dance", which
ends as a strutting, triumphalist, all-American cakewalk.

Act II
The child emperor (portrayed by a puppet manipulated by his advisors) reacts with
pleasure to the departure of the Americans, promoting Lord Abe to Shogun,
confirming Kayama as Governor of Uraga and raising Manjiro to the rank of Samurai.
The crisis appears to have passed, but to the displeasure of Lord Abe the Americans
return to request formal trading arrangements. To the tune of a Sousa march, an
American ambassador bids "Please Hello" to Japan and is followed by a Gilbertian
British ambassador, a clog-dancing Dutchman, a gloomy Russian and a dandified
Frenchman all vying for access to Japan's markets. With the appearance of this new
group of westerners, the faction of the Lords of the South grow restless. They send
a politically charged gift to the Emperor, a storyteller who tells a vivid,
allegorical tale of a brave young emperor who frees himself from his cowardly
Shogun.

Fifteen years pass as Kayama and Manjiro dress themselves for tea. As Manjiro
continues to dress in traditional robes for the tea ceremony, Kayama gradually
adopts the manners, culture and dress of the newcomers, proudly displaying a new
pocket watch, cutaway coat and "A Bowler Hat". Although Kayama, as stated in his
reports to the Shogun, manages to reach an "understanding" with the Western
merchants and diplomats, tensions abound between the Japanese and the "barbarians".
Three British sailors on shore leave mistake the daughter of a samurai for a geisha
("Pretty Lady"). Though their approach is initially gentle, they grow more
persistent to the point where they offer her money; the girl cries for help and her
father kills one of the confused sailors. Kayama and Abe travel to the Emperor's
court discussing the situation. While on the road, their party is attacked by
cloaked assassins sent by the Lords of the South and Abe is assassinated. Kayama is
horrified to discover that one of the assassins is his former friend, Manjiro; they
fight and Kayama is killed.

In the ensuing turmoil, the puppet Emperor seizes real power and vows that Japan
will modernize itself. As the country moves from one innovation to the "Next!", the
Imperial robes are removed layer by layer to show the Reciter in modern dress.
Contemporary Japan - the country of Toyota, Seiko, air and water pollution and
market domination - assembles itself around him and its accomplishments are
extolled. "Nippon. The Floating Kingdom. There was a time when foreigners were not
welcome here. But that was long ago..." says the Reciter. "Welcome to Japan."

Original Broadway cast — characters