31 December 2023 I 15:00 I Menier Chocolate Factory, London
⭐⭐⭐⭐⭐
Usually I tend not to have preconceptions on a show, but I had a gut feeling that Pacific Overtures, a Sondheim and Weidman collaboration, wouldn't be the show for me. However, Matthew White's adaptation of the 1976 musical blew me away with creativity, a visual spectacle that reflects on a colonised generation in the heart of Japan. The orchestrations are divine, each song leading with such sentiment, as the threat of westernization grows more subtly menacing.
As musical director, award winning Paul Bogaev is tremendous in leading a small orchestra to create such magical sound. We arrived in the auditorium early, so Bogaev came for a brief chat about how much he adores the production itself. And to be mindful of our feet, as such an intimate venue on one of the traverse's front rows is extremely close!! These moments are a real honour, to talk to industry greats and feel the passion for the work they are creating each night. Simply the way he spoke about Pacific Overtures and it's impact really fuelled my pre-show excitement. It is worth thanking the Menier Chocolate Factory and their staff for such a wonderful and warm reception.
The fascinating thing about Pacific Overtures is that although some characters may be featured more often, I didn't get the essence there was a 'main character' so to speak, moments distributed evenly to let many actors shine.
The historical basis of the story has the potential be confusing if you don't know the background. I had a vague understanding, however Jon Chew as the Reciter is really insightful, gifting audiences the information to piece the plot together. And Chew is truly a professional in building a connection with an audience. His presence and eye contact is really felt, alike opening a story book. His delivery always feels personal, directing attention to every area of the auditorium and aiding in modernising the original musical.
The balance between Joaquin Pedro Valdes and Takuro Ohno (Manjiro and Kayama respectively) is a pleasure. Valdes' silliness in opening scenes is bubbly and joyful, a misunderstood Manjiro won me over immediately. Alongside Ohno, there's a really good spirit, with well grounded voice and emotion work. Particularly as he adopts Americanised tradition, Ayako Maeda's costume divides incredibly well in such a stark contrast. The characteristics of Saori Oda's Shogun are humorously exaggerated, where she still holds quite a serious power. Though her waddles across the stage are a welcome break away from rising tensions, and I really enjoy the endlessly charming commitment to this.
The foreign generals are perceived with a stupidity, in a way which doesn't directly villainise Western forces with violence, rather a cultural invasion. Please Hello is the frightening visualisation of this, where 5 generals whimsically battle it out for Japan's markets. It is confusingly hilarious (credit to Sario Solomon's fabulous, high-kicking French admiral) but also scary. The amount of emotions I felt during this song is incredible, by far one of the best musical moments of the year for me.
The possibilities are endless with this small stage, Paul Farnsworth's set really making use of every element in it's most efficient way. I cannot describe how amazed I was to see a gigantic black ship appear and amass half of the space, purely with fabric work, and utterly terrifying. Projections are stunning in forming this magical atmosphere, and Leo Flint's video design in final scenes renders me speechless, demonstrating the consequences of western colonisation, which many are recognisable in a consumerist world. Pacific Overtures has never seen such innovation, and the way the cyclical structure brings history and the modern day into a cohesive parallel is extremely well considered.
A collaboration between the Menier Chocolate Factory and Japanese theatre makers Umeda Arts Theater, this adaptation of Pacific Overtures is truly remarkable. From a slight backlog of writing this review, it has been a few days since watching the show, yet every single day I cannot stop thinking about it. It might be a challenge for purists, especially with Chrysanthemum Tea cut, though for me this is a faultless production all around, especially for a Sondheim newbie!!
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