Pacific Overtures

B+

It was interesting to see Pacific Overtures the day after The Hairy Ape. Both are radically conceived revivals of works that are not generally considered to be among their creator’s finest. Both revivals succeed in making the case that these works should not be overlooked. John Doyle is working his way through the Sondheim canon; he has directed Company, Sweeney Todd, Passion and Road Show. In the first two of these, the actors were burdened with also being the musicians. Fortunately he has not repeated that gimmick for this CSC production. What he has given us is an intimate, streamlined, modern dress version with a fine cast. Pacific Overtures differs from his other shows in that it is basically a musicalized history lesson with characters that are sketched rather than fully developed. With a lovely score ably orchestrated by Jonathan Tunick and an interesting book by John Weidman with additional material by Hugh Wheeler, it doesn’t need fancy sets and costumes to make its case. [However I must say that I enjoyed the visually lavish Roundabout revival in 2004.] In this production, Doyle’s design is basically a long runway platform that continues up the wall on one side like a scroll and has a Japanese seat near one end. The audience face each other along the long sides and the musicians are at one end. The performers move fluidly both along the platform and both side aisles. Most of the cast of ten play multiple roles. George Takei plays the reciter. Ann Harada adds humor as the madam and the French admiral. Stephen Eng and Megan Masako Haley are strong as the hapless Kayama and his wife Tamate. Karl Josef Co, Austin Ku, Kelvin Moon Loh, Orville Mendoza, Marc Oka and Thom Sesma round out the fine cast. They all wear contemporary Western attire accessorized on occasion by silks that recall the famous “Great Wave” print. Sometimes a stripped-down production is valuable in revealing what is essential about a show. It works quite well here. Running time: 90 minutes; no intermission. NOTE: I advise against front row seats particularly if you are short, because the runway platform is quite high. Also, front row seats have no arms.

Sweeney Todd, The Demon Barber of Fleet Street

A

Tooting Arts Club originated this innovative version of Sondheim and Wheeler’s dark musical at London’s oldest pie and mash shop where it had a sold-out run followed by another in the West End. Luckily for us, Harrington’s Pie and Mash Shop has been lovingly recreated at the Barrow Street Theatre so we are able to see this wonderful production, including the four leads from London. With his dead eyes, hollow cheeks and slicked-back hair, Jeremy Secomb is a very scary Todd. Any vocal shortcomings are more than made up for by his commanding presence. Siobhan McCarthy is as fine a Mrs. Lovett as I have seen. Duncan Smith is strong as Judge Turpin and Joseph Taylor is wonderful as Tobias. (Starting in April, these four will be replaced by American actors including Norm Lewis and Carolee Carmello). Brad Oscar is surprisingly subdued as the Beadle. Matt Doyle and Alex Finke make a fine pair of young lovers as Anthony and Johanna. Betsy Morgan plays two roles: she is fine as the beggar woman, but I am not sure that casting any woman as Pirelli was a good idea. Much of the action takes place near the counter at the front of the pie shop, but the actors occasionally hop up on the four long tables that are perpendicular to the counter and move around other parts of the shop as well. I was amazed that the music was provided by just three musicians — a pianist, a violinist and a clarinetist; they serve the score well. The stripped-down staging works fine throughout the first act, but falters slightly in the last minutes, when the action intensifies quickly. It’s not really a problem. Simon Kenny gets credit for the wonderful set and costumes. Georgina Lamb is listed as choreographer, but there is very little dance in the traditional sense. Fight director Bryce Bermingham does an effective job. Kudos to director Bill Buckhurst for holding everything together. It’s a unique theatrical experience that I highly recommend. I also suggesting ordering the pre-show pot pie and mash for $20 with beverage. The delicious chicken or vegetarian pies are the creation of former White House pastry chef Bill Yosses. Running time: 2 hours 40 minutes including intermission.

A few words about seating: All the seating is on benches that have upholstered seats but wooden backs and no arms. The seats in rows A through F are perpendicular to the front of the shop. If you are in rows B through E, be prepared to have actors performing on your table. Rows G and H are parallel to the front of the shop and provide a good overall view. Rows AA and BB are in the balcony.

Marry Me a Little **

(Please click on the title to see the complete review.)
If you are an avid Sondheim fan (and I am not), you will no doubt enjoy the Keen Company's revival of this two-person show conceived and developed by Craig Lucas and Norman René.  Two neighbors in a Brooklyn apartment building (Jason Tam and Lauren Molina), alone on a Saturday night, sing 19 songs, almost all numbers cut from Sondheim musicals. They also dance a little and Molina plays the cello a bit. That's basically it for 63 minutes. There were a handful of songs I liked, but for me most of them made the case for why they were cut in the first place. Both performers are personable, but not that strong vocally. From the third row, I had trouble hearing some of the lyrics. John Bell is the fine pianist.  Dan Knechtges choreographed. Jonathan Silverstein directed.