By Shari Barrett
No doubt Stephen Sondheim fans have seen his most popular musicals many times. But that’s not the case with his masterpiece Pacific Overtures with book by John Weidman and additional materials by Hugh Wheeler, which is rarely performed on local stages. But that’s not the case with East West Players (EWP), the nation’s premier Asian American theater, as they present the highly anticipated return of the Sondheim musical, exquisitely directed by former EWP Artistic Director Tim Dang as a celebration of all things Japanese. The sterling production marks Artistic Director Lily Tung Crystal’s first show since joining East West Players, and is the tenth Sondheim production that Dang has helmed including the 1998 Pacific Overtures revival at EWP that inaugurated the David Henry Hwang Theater.
Set in 1853, Pacific Overtures explores the intersection of Western and Eastern cultures during the pivotal moment in Japan’s history when the country was opened to the West, a great challenge to those who consider “The Advantages of Floating in the Middle of the Sea” a great enhancement to the development of the Japanese rice industry to lead their economy and isolationist culture.
Stephen Sondheim’s unique score, with music direction by Shih-wei Wu and Tsugaru Terry on traditional Japanese instruments, is renowned for its innovative storytelling which beautifully fuses Kabuki theater and Broadway traditions. Director Tim Dang infuses incredible beauty in all elements of presentation, most notably the gorgeous scenic design by Tesshi Nakagawa which offers many doors and split-level opportunities for cast interactions, authentic Japanese costume design by Naomi Yoshida with hair and make-up design by Yoko Haitz which enhances the Kabuki stylings, and projections designed by David Murakami which transport viewers into the beauty of Japanese art and locations.
Blessed with a triple-threat cast of 15, most of whom play several roles, the production features Broadway veterans Jon Jon Briones who introduces the musical as the Reciter, then portrays the royal Shogun learning to deal with the West, and the Emperor to perfection. Gedde Watanabe from the Pacific Overtures original Broadway cast in which he played The Boy/Kanagawa Girl/Priest 48 years ago, shared how this production is so special to him being able to portray the Old Man, Imperial Priest, and Shogun’s mother.
Brian Kim McCormick plays the pivotal rile of Kayama, a Samurai, whose life is radically changed after he and Manjiro (Adam Kaokept) devise a plan to receive American ships for the first time without allowing them to technically set foot on Japanese soil, sharing the planning during their duet “Poems.” Kayama is promoted to the office of Governor of Uraga, and McCormick shines during Kayama’s “A Bowler Hat” which encapsulates his growing affluence and westernization as the two cultures mix over the years.
With most of the cast performing in Kabuki white-face make-up and dressed in kimonos, many traditional male or female roles are performed by actors of the opposite sex. A few of the most notable include Aric Martin as the Madam of four Geishas (Gemma Pedersen, Kit DeZolt, Nina Kasuya, Sittichal Chaiyahat) performing “Welcome to Kanagawa” to lonely male visitors from the Western world. Martin is a wonder in the role, with Sondheim’s lyrics comically letting us see the man behind the make-up and the fan. And Kerry K. Carnahan portrays Lord Abe, a valued Japanese leader and advisor, with all the super ego needed to portray his overabundant ego.
Character roles of note include three visiting British sailors (Kurt Kanazawa, Norge Yip, Scott Keiji Takeda) who encounter a “Pretty Lady” geisha (Ashley En-fu Matthews) gathering flowers in a garden. Admiring her from afar, the men soon approach and request flowers, which she graciously shares. But while singing her praises, the men circle around her with amorous intentions. And although she cannot speak their language, the geisha signals her fearful displeasure with their actions through very stylized Kabuki movements. Thankfully, the men decide to leave.
Athletically artistic dancer Kit DeZolt portrays Commodore Perry, the first Western explorer granted access to visit Japan, by prancing about the stage with a lion’s mane headdress during “Lion Dance” signaling his self-appointed Ruler of the Sea status. As time passes, Perry is joined by explorers from around the world, including a Dutch Admiral (Nina Kasuya), French Admiral (Aric Martin), British Admiral (Kavin Panmeechao), and Russian Admiral (Norge Yip) singing “Please Hello” as they are welcomed into Japan for the first time.
Contributing their talents to the overall magnificent production are Musical Director and Conductor Marc Macalintal who leads an 11-member orchestra performing Sondheim’s glorious music to perfection, lighting design by Brian Gale, Choreography by Yuka Takara, with Kabuki Theater Consulting and Choreography by Gankyö Nakamura, which enhance the visual artistry of Japanese history being shared.
All performances of Pacific Overtures are presented at the David Henry Hwang Theater in the Union Center of the Arts at 120 Judge John Aiso Street, Los Angeles 90012 in Little Tokyo. Performances continue through December 1 beginning at 8 p.m. on Thursdays, Fridays, Saturdays, and Mondays, 5 p.m. on Sundays, with additional 2 p.m. matinees on Saturdays. Tickets are available online at eastwestplayers.org or by calling (213) 625-7000. At the time of purchase, please mention any wheelchair/accessible seating needs.
Unlike director and Samuel Beckett aficionado Judy Hegarty Lovett, I cannot sing the praises of the two-and-half-hour repetitive mix of nonsensical dialogue about absolutely nothing, which is the essence of Beckett’s Waiting for Godot now at the Geffen Playhouse. Or so it seemed to me, given it’s award-winning status within the theatre of the absurd community. However, the production is blessed with the talented Aasif Mandvi as Estragon and Rainn Wilson as the loquacious Vladimir who make you want to try and understand exactly what they are talking about while returning to the same place day after day, hoping for the unseen Godot to finally show up. But why are they waiting for him? Is Godot bringing something to them? Do they work for him? Your guess is as good as mine.
The play takes place on an almost empty stage with the only scenic elements a stick tree and a stone to sit on, mostly by Estragon who is a depressed pessimist to Vladimir’s ever-questioning optimist. The two pass their days engaging in a rambling existential discussion of why each of us is responsible for creating purpose or meaning in their own lives, while neither of them seem to be able to take charge of making life anything other than what it is…. Waiting for Godot day after day. And it’s never revealed why they are willing to wait. Thus, there are no answers, leaving the understanding of the play in the mind of the viewer.
Comic relief is provided by visits from Pozzo (Conor Lovett) and Lucky (Adam Steinn) who are tethered together by a rope tied around Lucky’s neck. As well as that humiliation, Lucky carries around two large baskets to service the needs of Pozzo as he requests. I must admit I did join in the laughter when Lucky leaves his hat behind, and Estragon and Vladimir perform an entertaining juggling act during which each decides which hat suits him best.
Each day as evening falls and Godot does not appear, a cute young Boy (Lincoln Bonilla or Jack McSherry) shows up to answer Estragon and Vladimir’s questions about what’s going on with a simple “No, Sir” or “Yes, Sir” and then runs off after promising Godot will show up the next day. But of course, he never does. And so it goes on and on and on. But do your best to stay awake long enough to appreciate the skill of all the actors dedicated to making this monotonous play based in Existentialism worth your attention even if, like me, you are totally stumped as to what you are witnessing. Then again, maybe that’s the point – life makes no sense at all so just carry on and stop trying to figure everything out as it will only frustrate you. But I am still wondering what that ever-present low rumble was in the background.
Samuel Beckett’s Waiting for Godot continues through December 15 in the Gil Cates Theatre at the Geffen Playhouse, 10886 Le Conte Avenue in Westwood 90024, Tuesday-Friday at 8 p.m., Saturday at 3 p.m. and 8 p.m., and Sunday at 1 p.m. and 7 p.m. Directed by Judy Hegarty Lovell and produced in association with her company Gare St Lazare Ireland. Info and tickets at https://www.geffenplayhouse.org/, (310) 208-2028, or via email to boxoffice@geffenplayhouse.org
