Pacific Overtures and Parentheticals
Jan. 19th, 2005 11:35 amBeen swamped with work the past ten days, but I did get in to see the Roundabout's revival of Pacific Overtures at Studio 54. (I never made it to Studio 54 in its disco heyday. The first time I was there, in the nineties, it was a strip joint. It makes a really cool Broadway theatre, cocktail tables and working bar and all.) The show was fantastic; anyone who can get there before its limited engagement ends (Jan 30) should do so. I got discount tickets through WBAI. (Which by the way is a great deal: You make a donation to the listener-supported station during David Rothenberg's show on Saturday morning, the station gets money, you get decent, affordable seats, the house gets warm bodies.)
I'd experienced Pacific Overtures only through audio recordings, and since the last time I listened to it I've become a Kurosawa devotee, learned some Japanese, and read a lot about samurai and Japanese history, so the show came alive for me on several levels. I was impressed by the pit band and by how tight the production was musically (wind/strings/synthesizer/etc. on one side with the conductor, percussion on the other side, conductor with his back to both percussion and stage). I loved the fact that Alvin Y. F. Ing had been an original cast member and reprised "Chrysanthemum Tea" for this production. "Someone in a Tree" was nearly a showstopper; at the end of it I heard grunts of awe from the people sitting around me, an inarticulate wow that applause couldn't convey. The updating was masterly, and the finale gave me chills.
The last musical I saw was an updated production of The Frogs at Lincoln Center (with
stevendj), which was also terrific--and also, very consciously, politically timely. Hmm. I could get used to a steady diet of live Sondheim.
I'd experienced Pacific Overtures only through audio recordings, and since the last time I listened to it I've become a Kurosawa devotee, learned some Japanese, and read a lot about samurai and Japanese history, so the show came alive for me on several levels. I was impressed by the pit band and by how tight the production was musically (wind/strings/synthesizer/etc. on one side with the conductor, percussion on the other side, conductor with his back to both percussion and stage). I loved the fact that Alvin Y. F. Ing had been an original cast member and reprised "Chrysanthemum Tea" for this production. "Someone in a Tree" was nearly a showstopper; at the end of it I heard grunts of awe from the people sitting around me, an inarticulate wow that applause couldn't convey. The updating was masterly, and the finale gave me chills.
The last musical I saw was an updated production of The Frogs at Lincoln Center (with
no subject
Date: 2005-01-19 05:26 pm (UTC)no subject
Date: 2005-01-19 05:27 pm (UTC)no subject
Date: 2005-01-19 07:06 pm (UTC)no subject
Date: 2005-01-19 06:40 pm (UTC)---L.
Ribbit
Date: 2005-01-20 06:28 am (UTC)We're seeing Spamalot in February.
--Sort of Non Sequitir Girl
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Date: 2005-01-19 07:34 pm (UTC)If it weren't such short notice, I might psych myself up into doing it, but as it is, I'll probably pass.
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Date: 2005-01-20 05:18 pm (UTC)