Pacific Overtures - Menier Chocolate Factory

[Courfeyrac]

Saw this tonight. Was really great to get the chance to see a production of this show. The Menier does feel a lot sadder than the last time I was there (Candide 2013), and the benches were rather uncomfortable for the duration (though that might've been due to my neighbour's elbow in my lap).

I thought the show was good - I think Please Hello was one of the standout songs tonight, as well as Someone in a Tree. One of the mics gave up during Pretty Lady which was a bit disappointing on the harmony front.

It simultaneously felt too long and too short. The length probably came from nearly 2 hours without an interval, but some parts felt a bit rushed - not sure if that's from cuts or just existing problems with the show.

I did have a good evening though, thought the cast was great.

[ThereWillBeSun]

I'm really torn about whether to book for this one or not...I really begrudge how much they charge, not accessible at all when you compare to other venues. Really frustrating.

[Oobi]

I saw this a few days ago and... well, suffice it to say I can see why this is one of Sondheim's less-performed works.

There's very little interplay between the score and the book. Long stretches of dialogue are interrupted, rather than punctuated, by songs that drag the narrative to a screeching halt. The songs are weirdly boring too - musically and lyrically brilliant, of course, but sequences like There Is No Other Way and Welcome to Kanagawa drag on for minutes longer than they need to. The loss of Chrysanthemum Tea helps the show's narrative pacing but damages its tonal pacing, as the first "act" is left with almost no levity.

It takes far too long for the narrative building blocks of the evening to make themselves known. In the first dialogue scene, what should the audience's perspective be? Are we supposed to sympathize with Manjiro or the Shogun? I'm guessing it's supposed to be both, but they're both so thinly-drawn that it winds up being neither. Then we cut away to Kayama and spend five minutes with him and his wife, who we'll never see again. Then we get another musical "interlude" in the form of Four Black Dragons. It's not until Poems that we finally begin to grasp who our protagonists are - but the two of them don't share dialogue again until the final scene, so it's not like this helps.

Things do improve in Act 2. Please Hello is an ingenious song sequence, and the staging was perfect (loved the boat costumes). A Bowler Hat might be the closest the show gets to achieving pathos. And we even get some decent drama in the final scenes, complete with a samurai sword fight. But the epilogue feels incongruous with what came before - Kayama, the advocate of globalization, was just slaughtered by Manjiro, who's become the defender of traditional Japanese culture. There's nothing to tie the conclusions of these two characters to the Emperor's sudden maturation.

I'm glad I saw it, but mostly for the novelty factor. Let's give it a 5/10 and leave it at that.

... Oh, except...

I normally don't mention pricing in my reviews. While I know it's fashionable on this forum to whine about recent upward trends, I personally think West End ticket prices remain quite fair; I can almost always find a seat for a major theatre at ~£40 and a smaller indie theatre at ~£25.

Variable pricing is one of those rare capitalist "wins". It's great for both businesses and customers. Consider airlines; we might mock the rich idiot who spends thousands on a First Class seat, but that one sale indirectly funds a dozen economy seats for people of my means. A vast majority of profit comes from a tiny minority of passengers; the rest of us are just there to fill seats. Egalitarian pricing might be "fairer" in theory, but in practice, when every seat costs £500, the plane's just gonna wind up empty.

Which, in a nutshell, is what appears to be going on with this show. For some reason, the producers have decided to market tickets in the vast, expansive range of £55 to £60. (There are also a tiny handful of seats at the bargain price of £45, but they're only for the elderly and disabled.) Just for some perspective, realize that for £60 you can get an upper circle ticket to motherf*cking Cabaret. Don't get me wrong, this show was well-staged for what it was, but with simple sets, a small cast, and a running time of 105 minutes... Cabaret it ain't. I was thoroughly unsurprised to find the theatre only ~80% full when I attended.

As a piece of art, the show is a 5/10. As a product, factoring in price, I'd downgrade it to a 3/10. I actively recommend you do not pay these prices for this show.

[toomasj]

Thank you everybody for their reviews.

I gave this a swerve, as while I enjoyed it at the Donmar many years back, I felt that production was just about as good as the material could be done. Jerome Pradon being superb in his roles was my only standout memory (I think he won the Olivier?).

Another deciding factor was prior experiences at the Menier, which in my mind has gone from the darling of the indie scene to a bit of a cynical cash grab venue with very poor customer service. Bad sight lines and sounds in the last few things I saw there, although I did enjoy Assassins.

I’d have to really want to see something at the Menier to go - the risks at the venue just aren’t worthwhile. Oh; and the manager (owner) was very unhelpful to me previously after a cancelled performance once.

[ThereWillBeSun]

I think I am going to give this one a miss. I was so excited when there was a rumour and then announcement but can't justify the prices when I can see something else. I know price points and what's 'reasonable,' differs person to person, but the above ^ thanks for sharing the above (appreciate it) I don't want to just take a punt. The comparison to once being indie is such a true observation. I feel like the Menier have lost their way. To echo what I said earlier, frustrating!

[Someone in a tree]

Dec 15, 2023 19:38:46 GMT Someone in a tree said:

Ive always loved PO. i find its score beautifully hynoptic, yup the book is slow but also mightily ambitious.

I like the 2017 changes as it really does focus you on the binary views of the protagonists.

The programme essay by Weidman is well worth reading.

At the MCF from the middle of row C you miss most of the projections and if a character sits or kneels then forget it. Didnt they think to raise the stage?

A small proportion of the cast have poor diction. The mix of the band is poor / muddled, i would of like to picked out individual instruments.

The direction is not particularly focussed or inspiring. The set is glossy but nothing more.

Tree and Pretty Lady stood out as highlights. Im going back next month and im sitting on the front row hopefully I'll be able to see it all and enjoy it more.

I went back last night with low expectations and enjoyed it a lot more, noticing and appreciting things i missed before.

Sitting on the front row on the ' audience entry side' we were to see and hear everything perfectly. The orchestrations sound truly gorgeous.

I enjoyed it.

*sorry for quoting myself but thought it was a good way to balance my previously negative post*

[nottobe]

I went to see this last night and it is the sixth Sondheim I have been to see. I only knew 'Somone in a tree' and 'Pretty Lady' but nothing else of the show itself and I have to say out of all of the Sondheim's I have seen I think as a piece it is one of the better ones.

I paid more than I usually would for this and the restricted view was not too bad, also no one was next to me so I was not squashed which was a bonus.

I enjoyed the premise of this production being as a museum and being told the history of Japan by the guide. I did not know about the history so also found it a learning curve. The cast were all uniformly brilliant, having wonderful voices as well as great stage presences and comedy when needed. It also felt a treat to see quite a large cast in a small venue. I was also particularly impressed by the costumes here as there were so many changes and each and lots of the costumes were quite visually stunning.

I particularly loved the numbers 'Welcome to Kanagawa' and ' Please Hello' as both of these really were staged well and also were a mix of being so very funny but also informative. 'Please Hello' is definitely one of my favourite show stoppers I have seen in some time. But on a whole I enjoyed Sondheim's score a lot. There were times it did feel a bit dense, especially in the book scenes. But for me compared to either Assassins or Follies the book is much stronger here. I would say it is a better musical than those two, despite both of those having brilliant songs, this dramaturgically works better as a story.

Overall I was very pleasantly surprised by this and enjoyed the production a lot.

[AddisonMizner]

I went to see today’s matinee and thoroughly enjoyed it! This is the first time I have been at the Menier since THE BRIDGES OF MADISON COUNTY, and it was a joy to be back!

PACIFIC OVERTURES is one Sondheim piece that I do not know particularly well. I have listened to the numerous recordings, and I have previously seen the production that was on at the Union a few years ago, but I enjoyed the Menier’s much more.

The production is lovely for a start. It looks really quite beautiful, and the staging is very creative. I liked the setting of a Japanese exhibition, and felt that this framing device lent itself to the material very well. There was some lovely imagery created, such as the death of Kayama’s wife, with the use of red light and draped fabric. It is also a very witty production - I can’t remember the one at the Union being quite this funny.

The score is a marvel and unlike anything else in Sondheim’s output (though that could be argued for all of his work)! I loved how it sounded authentically oriental/Japanese, but then morphed to become more Westernised as the piece progressed. Particular highlights were ‘Someone in a Tree’ (I had tears in my eyes listening to this, but I think that it was more due to the recognition that this was Sondheim’s favourite song of his that he wrote), ‘Please Hello’ (a real showstopper in this iteration. I also loved the parodies of the musical styles from different countries, such as the Gilbert and Sullivan-esque patter song for England), ‘Pretty Lady’ (an absolute stunner of a song, despite its context - I again had tears in my eyes), and ‘Next’ (loved the staging of this number with its nod to AI).

All in all, a wonderful afternoon.

4 stars.

[couldileaveyou]

[thistimetomorrow]

Dec 21, 2023 11:27:03 GMT galinda said:

Are there any discounts available for this?

I had been put off going because of the prices, but checked on TKTS and on the day they offer seats for £42.50 (which while still relatively not cheap, I was more willing to pay).

[anthony40]

[abitoftap]

We've just had to return two concession tickets for the February 4th 3pm matinee. As at 12.50, they're still avaiable

[jay78uk]

Enjoyed this on Thursday night. Being a Sondheim nut I know the score inside out but have never seen a production. It was wonderful to see it live and hear the (extensive) dialogue for the first time. I found a lot to like about this production. The staging and imagery are strong, the use of technology imaginative and relevant and the band good. However, I could not understand the diction of several cast members. If I had not known the score (and history having been to Japan) I would have been lost. The chap sitting next to me knew nothing of the piece and enjoyed it, but the crucial narrative regarding the laying of tatami mats to avoid Americans making contact with sacred soil was completely lost on him. So, very glad I saw this, but hope that an even better production might come along at some point.

[sf]

I saw it last night.

It's the first time I've seen the show since the ENO production (no of course you can't believe I'm that old). Beautiful production, beautifully designed, staged, and performed. Yes, a couple of the actors spoke/sang very heavily Japanese-accented English, but I didn't have any difficulty understanding them. 'Someone In A Tree', in particular, was stunning (and I think it's possibly the best thing Sondheim ever wrote). It's the best thing I've seen at the Menier in several years, and I regret that I'm probably not going to be able to go back and see it again before it closes.

[punxsutawney]

Four stars for me - a lovely staging of the show, wonderfully put together by the crew at the Menier, and wonderfully acted throughout. I have only knocked the star off as I found 

SPOILER: Click to show

{Spoiler - click to view}
that the ending rather missed the whole point of the show. It seemed to portray Japan as the great power, getting one over on the west, as opposed to the obvious intended reading of a sort of "history repeats itself, power corrupts all" where Japan repeats the evils and terrors of the west. I imagine this is simply a product of it being a Japanese production, and it being the necessary interpretation in Japan. Nevertheless, very jarring.

[greenandbrownandblue]

Feb 4, 2024 20:09:42 GMT punxsutawney said:

Four stars for me - a lovely staging of the show, wonderfully put together by the crew at the Menier, and wonderfully acted throughout. I have only knocked the star off as I found 

SPOILER: Click to show

{Spoiler - click to view}
that the ending rather missed the whole point of the show. It seemed to portray Japan as the great power, getting one over on the west, as opposed to the obvious intended reading of a sort of "history repeats itself, power corrupts all" where Japan repeats the evils and terrors of the west. I imagine this is simply a product of it being a Japanese production, and it being the necessary interpretation in Japan. Nevertheless, very jarring.

That's very interesting. I thought the staging of 'Next' was stunning - very clever use of video on a traverse stage, and the nod to AI also very good. But you're right that it's an odd shift of tone, and overtly positive. 

Was very pleased to finally see this though, nice of the Menier to do a less obviously commercial musical revival. Though the Menier has lost its shine; not been there since The Boyfriend in 2019, and it felt so drab last night. In its heyday, late noughties early 2010s, it was THE place to be. I remember sitting in the restaurant, having bought their 'meal deal' ticket before a matinee of A Little Night Music (what a cast that was - Hannah Waddingham, Alexander Hanson, Maureen Lipman, Gabriel Vick, Jessie Buckley!). There was such a buzz around the place - and every musical there was pretty much guaranteed a West End or even Broadway transfer. 

[toomasj]

Feb 4, 2024 20:52:17 GMT greenandbrownandblue said:

Feb 4, 2024 20:09:42 GMT punxsutawney said:

Four stars for me - a lovely staging of the show, wonderfully put together by the crew at the Menier, and wonderfully acted throughout. I have only knocked the star off as I found 

SPOILER: Click to show

{Spoiler - click to view}
that the ending rather missed the whole point of the show. It seemed to portray Japan as the great power, getting one over on the west, as opposed to the obvious intended reading of a sort of "history repeats itself, power corrupts all" where Japan repeats the evils and terrors of the west. I imagine this is simply a product of it being a Japanese production, and it being the necessary interpretation in Japan. Nevertheless, very jarring.

That's very interesting. I thought the staging of 'Next' was stunning - very clever use of video on a traverse stage, and the nod to AI also very good. But you're right that it's an odd shift of tone, and overtly positive. 

Was very pleased to finally see this though, nice of the Menier to do a less obviously commercial musical revival. Though the Menier has lost its shine; not been there since The Boyfriend in 2019, and it felt so drab last night. In its heyday, late noughties early 2010s, it was THE place to be. I remember sitting in the restaurant, having bought their 'meal deal' ticket before a matinee of A Little Night Music (what a cast that was - Hannah Waddingham, Alexander Hanson, Maureen Lipman, Gabriel Vick, Jessie Buckley!). There was such a buzz around the place - and every musical there was pretty much guaranteed a West End or even Broadway transfer. 

Re: the Menier as a venue, exactly my thoughts. Was hit after hit for a while and I was booking on announcement day for all their musicals. It’s just another middling fringe venue nowadays, in my view. Awful customer service too - some of the worst in town. They seem to think you should be honoured to be there!

And that ALNM production was absolutely superb. I saw it at the Menier, the West End and on Broadway and it was magical each time. Shout out for Kaisa Hammarlund in the Menier/West End too who was a wonderful Petra.

[fluxcapacitor]

Saw this today, and all my feelings have already been summed up by others in the thread. I loved the score, and found the piece got much stronger halfway through once the emotional narrative became clear. Until then, it’s a bit of a chore and book heavy.

I found the performances uneven with some beautifully nuanced and others highly overacted with garish broad strokes. That may well be laziness creeping in towards the end of the run though.

Overall, I enjoyed it. Glad to have the chance to tick off a lesser performed Sondheim, with some effective staging and set design in a limited space. I’m glad it was a 90 minute version as I don’t think I’d have appreciated a longer runtime.

I agree with what others are saying about the venue, though. It used to be you’d walk in to be greeted by a warm, buzzing atmosphere that felt vibrant and exciting to be a part of but it’s now a very cold, unwelcoming entrance followed by a hasty nudge to packed seats. They really need to work on the overall experience here again as it’s sorely missed.

[cg]

Just returned two tickets for 17/2 matinee if anyone wants/needs a return or first visit?

[Mark]

Very enjoyable. Went in blind and thought it was a great show with a strong cast and very well staged. Another win for the Chocolate Factory.