Union Theatre
Reviewed on Sunday 6th July 2014
Pacific Overtures is a uniquely fascinating piece of theatre. Set in 1853, Stephen Sondheim and John Weidman's musical is about the Westernisation of Japan. This story of struggle and hardship is told from the point of view of the Japanese. Updated for 2014 audiences, impressively the musical (which opened on Broadway in 1976) is still extremely relevant today.
Michael Strassen's staging is absolutely mesmerising. Complimented perfectly by Tim Deiling's sublime lighting design, I found certain moments of the show almost hypnotic. I have never seen anything like Pacific Overtures and am still trying to digest what I witnessed. The first act dragged a little as the interval approached before the pace picked up during the second half.
The all-male cast show tremendous versatility, racing on and off stage as all sorts of characters. Mentions must go to Marc Lee Joseph, Ian Mowat and Joel Harper-Jackson who all stood out whilst playing various different roles. Harper-Jackson's vocals were particularly impressive.
It's not often that I sit in a theatre knowing absolutely nothing about what to expect, but I think that's the best way to approach Pacific Overtures. It is an utterly bizarre piece of theatre. It's fun, enchanting and eye opening, something few musicals can be described as.
It's wonderful to see the Union Theatre continuing to dig up these forgotten pieces of theatre. Shows like Pacific Overtures would no longer work on a commercial scale, but there is certainly a hunger and interest from theatregoers. The Union Theatre not only entertains, but it also educates by putting on world class productions of shows everybody else has forgotten about.
Reviewed by Andrew Tomlins (Editor)
Pacific Overtures runs at the Union Theatre until Saturday 2nd August 2014.
Please visit www.uniontheatre.biz for further information and tickets.
Photo Credit: Darren Bell
Please visit www.uniontheatre.biz for further information and tickets.
Photo Credit: Darren Bell
This review is dreadfully written. The lack of structure and bizarre phrasing make the entire piece difficult to read, worsened by very little critical analysis. You're no writer, please stop.
ReplyDeleteI enjoyed this show and review. Nice to see something different and read a friendly piece of writing which doesn't just state information about the story. Please don't stop writing... (to the person above, maybe you should stop writing)
ReplyDeleteIt's astonishing how the white elephant in the room is not being addressed here. This whole show about the commercial subjugation of Japan by Western nations and where two thirds of the characters are Japanese is portrayed by a cast of white actors - just half an East Asian amongst them. Where this would be unthinkable in a production of, say, The Scottsboro Boys or even the black characters in The Book of Mormon, the practice of "yellow face" is alive and well in London theatre. Despite protests by the East Asian acting community neither the producer nor the director have seen fit to address this issue. Whilst it is uncomfortable for liberal artists to imagine they may somehow be prejudiced or they have done something wrong against a minority, the reality is plain to see and yet again has been brushed under the carpet, abetted by the media and press who laud their achievement, blocking out what has hitherto been a silent minority. Enough is enough.
ReplyDeleteThe nature of theatre is pretend. Especially with Japanese Kabuki theatre where females are males. Whilst we can sympathise at the lack of roles for Japanese actors, I see no reason why this group of actors should not pretend to be other than what they are. If every ethic role was played authentically we would most likely have to do without this apparently excellent production and many others like it, which would be a pity.
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