Pacific Overtures - Review

Union Theatre, London

****

Music and lyrics by Stephen Sondheim
Book by John Weidman
Additional material by Hugh Wheeler
Directed by Michael Strassen

The company of Pacific Overtures

One of his least performed musicals, Pacific Overtures sees Sondheim cast his gimlet eye on the diplomatic advances (the pacific overtures of the title) that America and subsequently other nations too, made towards Imperial Japan around the middle of the nineteenth century. The finely crafted tale depicts the guardians of a rarefied Japan grappling with the threat that the "barbarians" from across the Pacific posed to their culture and sovereignty. There is balance in the writing though and whilst Japan surely had a refined elegance to its way of life, Sondheim strips the scales away, portraying a harsh and murderous Japanese dictatorship, demeaning of women and with an ethos of intolerance and jingoistic nationalism fascist enough to make UKIP resemble the Rainbow Alliance.

There are few lyrical minds wittier than Sondheim and his act one lyrics, with frequent Haiku sub-cadences present an aural suggestion of Japan that has an uncanny authenticity. Michael Strassen's bold interpretation of the complex work again hints at his mastery of the musical, particularly with his work so often amongst the restrained budgets of off-West End theatre

Simple drapes suggest the ascetic world of this interpretation and with the undercroft auditorium's air heavy with the scent of joss sticks, the thematic nod to Kabuki is sealed. That the traditional Japanese art form demands a men-only cast will only have appealed to Sasha Regan's Union Theatre, a venue ever keen to present a scantily clad all-male flesh feast. But Strassen's vision holds firm and the artistic integrity of his staging is at times breathtaking, with some close harmony work that is sublime.

As with all of Sondheim’s shows, his musical numbers are akin to the Japanese military: They don't easily take prisoners. It's a simple choice, one either masters the Master's melodies or dies trying. Ken Christiansen may make for an imposing white-slapped Reciter, Shogun and ultimately Emperor, but he is found out on his singing solos. There is however excellence in abundance elsewhere. Ian Mowat is a delight in roles of varying gender and seniority, never bettered than as the geisha's madam in Welcome To Kanagawa, where his character seems to effortlessly conjoin The Engineer from Miss Saigon with Cabaret's Emcee. Amongst the boys Joel Harper-Jackson skilfully amuses as the Shogun's wife, Matt Jolly's Fisherman in Four Black Dragons is a treat, whilst Lee Van Geleen who recently impressed in HMS Pinafore, combines a pinpoint comic turn with a beautifully weighted baritone presence as the Russian Admiral.

Strassen's take on the complex piece is to be savoured, with Richard Bates' four piece band a delight, capturing much of the tale purely through the show's carefully crafted compositions. The company work in voice, movement and dance is top-notch, with Marios Nicolaides' ballet work an absolute treat. Oh and the three-part harmony of Pretty Lady has to be amongst the best in town. Not an easy show to watch, but unmissable both for Sondheim devotees and canny lovers of musical theatre.

Runs until 2nd August 2014

Before The Night Is Through

Landor Theatre, London

****

Book and lyrics by Olivia Thompson

Music by Christopher Whitehead

Directed by Rob McWhir

Kieran Brown points an accusatory finger

Before The Night Is Through has the potential to be a fine piece of British musical theatre. Part Downton Abbey on acid, part Punchdrunk's The Drowned Man, Olivia Thompson has fashioned a murder mystery set in the mansion of a 1930s film star, Honey Quenelle. The first half in particular shows immense promise, motives and macguffins abound with the strength of this production lying in the stellar talent of its cast. All ten performers flap with utter aplomb, whilst special tribute to Thompson herself who stepped in to fill the breach at the last minute after a cast member became indisposed.

The show is more caricature than character, with Katie Brennan's Mabel, a maid-servant clearly inspired by Baldrick and Ian Mowat's penniless aristocrat Stubby, particularly well crafted comic creations. Amelia Adams Pearce is every inch the refined Honey, defining the elegance of the era, whilst Kieran Brown's dashing detective has a cracking number A Very Touching Story, that shows the actor at his best. Jenny Gayner's flapper Farmonica is an outrageously manic creation of perfect balance and sublime comic timing, who at times suggested a 21st century Bette Davis. Gayner’s performance was only enhanced by an unplanned jewellery malfunction giving rise to a stunning pearl necklace spillage, truly something not often seen on London's fringe.

Rob McWhir again extracts the best from a talented bunch and most of Cressida Carre's choreography works too, though the torchlit dances lost their gimmick second time around. The creative star of the show however is Chris Whitehead (who also musically directs on piano) whose well created compositions were an accurate take on the era. There was a hint of ragtime and charleston to some of his melodies as well as a fabulous waltz whilst the vocal harmonies that ranged from two to eight part are exquisite. As it stands though, the show is very much a work in progress and Thompson needs to take a scalpel to her second act. It's a complicated plot that unfolds, at times too complicated and a twenty minute trim wouldn't go amiss.

But bravo to Katy Lipson for mounting the From Page To Stage season. This is precisely the sort of well crafted work that is to be encouraged and a revised, honed version of Before The Night Is Through could yet have a commercial future.

Runs until 23rd February