Pacific Overtures (1976 Original Broadway Cast)

Pacific Overtures (1976 Original Broadway Cast)

Pacific Overtures (1976 Original Broadway Cast)
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CD Details

Composer: Stephen Sondheim
Orchestra: Stephen Sondheim
Performer: Alvin Ing
Performer: Conrad Yama
Performer: James Dybas
Performer: Timm Fujii
Performer: Ernest Harada
Performer: Patrick Kinser-Lau
Performer: Jae Woo Lee
Performer: Isao Sato
Performer: Freda Foh Shen
Performer: Yuki Shimoda
Performer: Sab Shimono
Performer: Mark Hsu Syers
Performer: Ricardo Tobia
Performer: Gedde Watanabe
Performer: Leslie Watanabe
Performer: Fusako Yoshida
Performer: Mako
Edition: Music CD
Format: Cast Recording
CD Release Date: 1990-10-25
Music Label: RCA Victor Broadway
Soundtracks:
  1. The Advantages Of Floating In The Middle Of The Sea - Mako And Company
  2. There Is No Other Way - Alvin Ing/Ricardo Tobia
  3. Four Black Dragons - Jae Woo Lee/Mark Hsu Syers/Mako And Company
  4. Chrysanthemum Tea - Alvin Ing/Mako/Mark Hsu Syers/Timm Fujii/Gedde Watanabe/Patrick Kinser-Lau...
  5. Poems - Isao Sato/Sab Shimono
  6. Welcome To Kanagawa - Ernest Harada/Timm Fujii/Patrick Kinser-Lau/Gedde Wtanabe/Leslie Watanabe/Mako
  7. Someone In A Tree - James Dybas/Mako/Gedde Watanabe/Mark Hsu Syers
  8. Please Hello - Alvin Ing/Yuki Shimoda/Ernest Harada/Mako/Patrick Kinser-Lau...
  9. A Bowler Hat - Isao Sato
  10. Pretty Lady - Patrick Kinser-Lau/Timm Fujii/Mark Hsu Syers
  11. Next - Mako And Company

Music reviews of Pacific Overtures (1976 Original Broadway Cast)

Music Review: A most unusual topic for a musical, but then that's Sondheim
Rating: 4 Stars

"Pacific Overtures" is the political euphemism used by Commodore Matthew Perry in 1853 when Japan was persuaded to open up trade relations because of the display of naval power put on by the United States. The clash of cultures as the "Floating Kingdom" was forced to end centuries of enforced isolation is the subject of this unique musical, which dramatizes Perry's expedition to Japan. John Weidman's original idea, which first came to him in a Harvard lecture hall in 1966, was realized a decade later when director-producer Harold Prince decided to adapt various Japanese theatrical techniques and conventions, and Stephen Sondheim was brought in to write the music.

At that point in time Sondheim was primarily known for his exploration of personal relationships (e.g., "Company," "Follies," "A Little Night Music"), so it is not surprising that he presents countries as characters when delving into international relations. There are three long set pieces in the show. "Chrysanthemum Tea" deals with the attempts in vain of the Shogun's mother to spur her son to action to stop the invaders, until she poisons him in frustration. "Someone in a Tree" relates the first formal meeting between the Japanese and the Americans from the perspective of a young boy in a tree and a warrior hidden underneath the floorboards in case of American treachery. The showpiece of the musical is "Please Hello," where a series of admirals representing the Western powers arrive and haughtily make their demands of the Japanese, allowing Sondheim to make maximum use of his delightful word play. There are also several effective smaller pieces, most notably "Poems." You will not find a song in "Pacific Overtures" that Barbra Streisand will cover on one of her Broadway albums, but that is because such the story and form of the show do not lend themselves to such melodies.

"Pacific Overtures" a rare musical to see in performance, which is a shame because of its imaginative use of Kabuki. Among the Kabuki traditions adapted to the show were the use of males to play the female roles, the Reciter (Mako) who comments on and sometimes participates in the proceedings, and stagehands completely clothed in black and musicians on stage throughout the play. Act I ends with the symbolism of a Kabuki lion dance, which provides the image for the album cover. More than most musicals "Pacific Overtures" is a piece that loses something significant when you listen to the album and are left without the images and only the sounds. First time listeners need to read the synopsis by William H. Evans and follow along with the libretto to get an appropriate idea of the production. While it would never be a very popular show, this musical is certainly a fascinating attempt that is of much interest to the Westernization of Japan as it is to devotees of the American stage. Ultimately, Prince has a bigger impact on the show than Sondheim, which takes some doing to be sure.

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