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THE ART OF THE IMPROBABLE
Bookwriter John Weidman tells us the story of how PACIFIC OVERTURES got its shot. PACIFIC OVERTURES was born in 1965 in a classroom at Harvard College. I had arrived at Harvard with the intention of majoring in Modern European History, but departmental regulations required me to take a course outside my specific field of interest, so I chose the survey course in East Asian History. That was China and Japan, with a sprinkling of Korea thrown in for good measure. I’d graduated from a first-rate high school in New York, which is to say I’d had a firstrate post-war American high school education—an education in which Asia had been completely and entirely ignored, as if that half of the world simply did not exist. To be exposed, all in one breath, to the events, the adventures, the complexities and nuances of these fascinating cultures— hundreds if not thousands of years older than my own—was, as we used to say in the ‘60s, mindblowing. And the experience changed my life. Fade out, fade in. Several years had passed, and I found myself sitting in the library at Yale Law School where I was a second year student, enjoying the law school, but knowing beyond a shadow of a doubt that I did not want to spend my life practicing law. But if I wasn’t going to practice law, what was I going to do? The answer seemed obvious—in a way which you can only appreciate if you came of age in the “whatever’s right” counterculture of the ‘60s. I was going to write a play. I mean, why not? True, I’d never written a play before, I’d never contemplated a career in the theater, I’d certainly never trained for one. On the other hand, I’d been an avid theatergoer Original Broadway poster for PACIFIC OVERTURES
ever since my allowance had been large enough to allow me to buy a ticket in the balcony to Who’s Afraid of Virginia Wolf and A Funny Thing Happened on the Way to the Forum. I knew what a play looked like on the page, I had a yellow legal pad and a pen, and I knew at least a little bit about an historical episode about which most people knew absolutely nothing—the momentous, dramatic, and enormously consequential events surrounding America’s first encounter with Japan: Commodore’s Perry 1853 expedition to open up an empire which had deliberately closed itself off to contact with the rest of the world for almost two hundred and fifty years. This was a first toe in the water for American adventurism on the other side of the world, explored at a moment when the war in Vietnam was still raging around me with no end in sight. I went to work. I wrote a first draft. I sent an entirely disingenuous letter to Hal Prince asking if he ever hired law students as interns in his office (I had no interest in being such an intern), appending a PS in which I said I was working on a play about the opening of Japan and that I would value his input. Hal, who had a reputation for openness and curiosity and for being generously available to young artists, responded that no, he didn’t hire interns in his office, but that the play sounded interesting, and if I was ever in New York I should make an appointment to come in and talk to him about it. As James Lapine would one day write in Into the Woods, opportunity is not a lengthy visitor. I made the appointment. I arranged to be in New York. I had a first conversation with Hal. I finished the play. Hal, who became increasingly intrigued with the possibilities of combining the larger-then-life conventions of the Kabuki Theater and American Musical Theater, did a reading of the play and decided it would work better as a musical. He brought Sondheim into the project. The three of us went to work...and next thing I knew I found myself standing at the back of the Winter Garden Theater with my former hero, now my collaborator and, as it would turn out, my great and good friend for life, Stephen Sondheim, watching the opening night performance of our new musical. There is obviously a great deal more I could say about the process of moving PACIFIC OVERTURES from the page to the stage. But the specifics have a good deal in common with the way in which other musicals of the time made their way from the page to the stage. The beginnings of the project, however, the first steps it took as it shook itself into existence, remain as ridiculously and delightfully improbable to me today as they did forty years ago.
From original Broadway production of PACIFIC OVERTURES Martha Swope / The New York Public Library
THREATENING
OVERTURES With tightrope of diplomacy becoming increasingly precarious in our own world, the historic documents that inspired the title and story of PACIFIC OVERTURES resonate as profoundly today as ever. Below are excerpts from three letters penned between 1852 and 1853 by President Millard Fillmore and Commodore Matthew Perry to the Japanese Emperor. The themes of inhumane imprisoment, cultural clashes, and power brokering cut across the centuries.
From Millard Fillmore, President of the United States of America, to His Imperial Majesty, the Emperor of Japan November 13, 1852 GREAT and Good Friend: I send you this public letter by Commodore Matthew C. Perry, an officer of the highest rank in the navy of the United States, and commander of the squadron now visiting your imperial majesty’s dominions. I have directed Commodore Perry to assure your imperial majesty that I entertain the kindest feelings towards your majesty’s person and government, and that I have no other object in sending him to Japan but to propose to your imperial majesty that the United States and Japan should live in friendship and have commercial intercourse with each other. The Constitution and laws of the United States forbid all interference with the religious or political concerns of other nations. I have particularly charged Commodore Perry to abstain from every act which could possibly disturb the tranquility of your imperial majesty’s dominions. The United States of America reach from ocean to ocean, and our Territory of Oregon and State of California lie directly opposite to the dominions of your imperial majesty. Our steamships can go from California to Japan in eighteen days. Our great State of California produces about sixty millions of dollars in gold every year, besides silver, quicksilver, precious stones, and many other valuable articles. Japan is also a rich and fertile country, and produces many very valuable articles. Your imperial majesty’s subjects are skilled in many of the arts. I am desirous that our two countries should trade with each other, for the benefit both of Japan and the United States.... I have directed Commodore Perry to mention another thing to your imperial majesty. Many of our ships pass every year from California to China; and great numbers of our people pursue the whale fishery near the shores of Japan. It sometimes happens, in stormy weather, that one of our ships is wrecked on your imperial majesty’s shores. In all such cases we ask, and expect, that our unfortunate people should be treated with kindness, and that their property should be protected, till we can send a vessel and bring them away. We are very much in earnest in this.... May the Almighty have your imperial majesty in His great and holy keeping! In witness whereof, I have caused the great seal of the United States to be hereunto affixed, and have subscribed the same with my name, at the city of Washington, in America, the seat of my government, on the thirteenth day of the month of November, in the year one thousand eight hundred and fifty-two. Your good friend, Millard Fillmore
From Commodore Matthew C. Perry to His Imperial Majesty, the Emperor of Japan July 7, 1853 To His Imperial Majesty, the Emperor of Japan: THE undersigned, commander-in-chief of all the naval forces of the United States of America stationed in the East India, China and Japan seas, has been sent by his government of this country, on a friendly mission, with ample powers to negotiate with the government of Japan, touching certain matters which have been fully set forth in the letter of the President of the United States, copies of which, together with copies of the letter of credence of the undersigned, in the English, Dutch, and Chinese languages, are herewith transmitted.... The undersigned has been commanded to state that the President entertains the most friendly feelings towards Japan, but has been surprised and grieved to learn that when any of the people of the United States go, of their own accord, or are thrown by the perils of the sea, within the dominations of your imperial majesty, they are treated as if they were your worst enemies.... With the Americans, as indeed with all Christian people, it is considered a sacred duty to receive with kindness, and to succour and protect all, of whatever nation, who may be cast upon their shores, and such has been the course of the Americans with respect to all Japanese subjects who have fallen under their protection. The government of the United States desires to obtain from that of Japan some positive assurance that persons who may hereafter be shipwrecked on the coast of Japan, or driven by stress of weather into her ports, shall be treated with humanity. Therefore, as the United States and Japan are becoming every day nearer and nearer to each other, the President desires to live in peace and friendship with your imperial majesty, but no friendship can long exist, unless Japan ceases to act towards Americans as if they were her enemies. However wise this policy may originally have been, it is unwise and impracticable now that the intercourse between the two countries is so much more easy and rapid than it formerly was. The undersigned holds out all these arguments in the hope that the Japanese government will see the necessity of averting unfriendly collision between the two nations, by responding favourably to the propositions of amity, which are now made in all sincerity. Many of the large ships-of-war destined to visit Japan have not yet arrived in these seas, though they are hourly expected; and the undersigned, as an evidence of his friendly intentions, has brought but four of the smaller ones, designing, should it become necessary, to return to Edo in the ensuing spring with a much larger force. But it is expected that the government of your imperial majesty will render such return unnecessary, by acceding at once to the very reasonable and pacific overtures contained in the President’s letter, and which will be further explained by the undersigned on the first fitting occasion. With the most profound respect for your imperial majesty, and entertaining a sincere hope that you may long live to enjoy health and happiness, the undersigned subscribes himself, M. C. Perry, Commander-in-chief of the United States Naval Forces in the East India, China, and Japan seas
From Commodore Matthew C. Perry July 14, 1853 For years several countries have applied for trade, but you have opposed them on account of a national law. You have thus acted against divine principles and your sin cannot be greater than it is. What we say thus does not necessarily mean, as has already been communicated by the Dutch boat, that we expect mutual trade by all means. If you are still to disagree we would then take up arms and inquire into the sin against the divine principles, and you would also make sure of your law and fight in defence. When one considers such an occasion, however, one will realize the victory will naturally be ours and you shall by no means overcome us. If in such a situation you seek for a reconciliation, you should put up the white flag that we have recently presented to you, and we would accordingly stop firing and conclude peace with you, turning our battleships aside. Commodore Perry
hidden, I worked alongside the lighting department to to create the illusion that the actors were indeed in very different places. Sound seems to be one of the least understood design categories in the theater. Why do you think this is, and what makes an excellent sound design an indispensable part of a successful production? Because it is not a visual art form, I think it is sometimes not ’seen’ for what it can be—an art form. When the sound design is integral to the storytelling of a musical or a play —that makes excellent sound design. What are some key differences between sound design for a musical vs. sound design for a play?
Unseen Art
From Passion. Photo by: Joan Marcus
An Interview with PACIFIC OVERTURES Sound Designer Dan Moses Schreier Tell us a bit about how you got your start as a sound designer and composer? What inspired you to take your musical training into this theatrical discipline? I studied Music Composition my freshman year at the University of Michigan. At the end of my freshman year I got a job working on a new musical the University had commissioned from Arthur Miller to open up a new theater that had just been built on campus. Arthur Miller did his undergraduate studies at Michigan. After working on the production at the University, the composer of the project, Stanley Silverman, asked me to come to New York and work as his assistant. That’s what brought me to New York and started my career in the theater here. After working as Stanley’s assistant for a year I went back to school at Columbia University. I became interested in the electronic music studio at Columbia, where I learned about amplifiers, speakers and microphones.
This was before courses existed in sound design. After I graduated I found that I could use both my composition skills and my knowledge about the sound world to create a career in the theater.
Different muscles are used for each. In plays, sound design can help define the world of the play. In a musical, the first thing is to make sure every word can be heard, and then you craft a sonic world that can help define the world of the musical. Can you give us an example of a recent show whose sound design really grabbed you? What was so impressive/ moving/evocative about it? The sound design for American Psycho on Broadway was some of the sound work I’m most proud of, and I hope it really grabbed the audience. The music composed by
You’ve worked with CSC Artistic Director John Doyle before. What stands out about your collaborations with him? John is full of creativity, intelligence and kindness, and he seeks those qualities from me when we work together. He brings out the best in my work. John also always provides a designer with an interesting challenge. When we collaborating on his production of Sweeney Todd on Broadway, the challenge was to make it sound like the actors were always going to different places while the entire production was staged on a small 16’ x 20’ platform. By creating different sonic environments with different reverbs for places such as the basement where the meat pies are made or the mental hospital where Johanna is
From Peer Gynt. Photo by: Joan Marcus
From In the Spotlight Series
Duncan Sheik dictated many aspects of the sound design as there were many scenes that took place in New York City dance clubs in the 1980s. It was a powerful thing to create that world in the theater. What was also exciting about the production was how all aspects of the design—sets, lighting, costumes, projections, music and the sound—all worked as one unit to tell the story.
This program is supported, in part, by public funds from the New York City Department of Cultural Affairs in partnership with the City Council, and is made possible by the New York State Council on the Arts with the support of Andrew Cuomo and the New York State Legislature. Special thanks to the Harold and Mimi Steinberg Charitable Trust for supporting Classic Stage Company.
Marc Abrams Justin Blake Mary Corson D. Rebecca Davies Denise Dickens Raymond DiPrinzio Barbara Marks Debra Mayer Marla Schuster Nissan Maeve O’Connor Nicola Christine Port Gail F. Stone Thomas A. Teeple Roslyn Tom
EXECUTIVE COMMITTEE Paul Blackman Matthew J. Harrington Therese Steiner
BOARD OF DIRECTORS Lynn F. Angelson, CHAIR Edwin S. Maynard, VICE CHAIR Donald Francis Donovan, CHAIR EMERITUS
ARTISTIC DIRECTOR John Doyle CONSULTING ARTISTIC DIRECTOR Brian Kulick MANAGING DIRECTOR Jeff Griffin
Anonymous ACE Charitable Foundation Actors' Equity Foundation The Angelson Family Foundation Arete Foundation AmazonSmile Foundation Axe-Houghton Foundation Barbara Bell Cumming Foundation The Bay and Paul Foundation Charles and Lucille King Family Foundation The Chervenak-Nunnallé Foundation Con Edison Debevoise & Plimpton, LLP The Don and Maggie Buchwald Foundation The Dorothy Loudon Foundation The Dorothy Strelsin Foundation Edelman Evercore Partners The Fan Fox and Leslie R. Samuels Foundation Fred and Suzan Ehrman Foundation The Friars Foundation Gerard Family Foundation The Gladys Krieble Delmas Foundation Goldman, Sachs & Co The Harold and Mimi Steinberg Charitable Trust The Horace W. Goldsmith Foundation Howard Gilman Foundation The Jerome Robbins Foundation Lucille Lortel Foundation Macy's/Bloomingdale's Matching Gift Fund Michael Tuch Foundation The Mnuchin Foundation National Endowment for the Arts New York City Department of Cultural Affairs New York State Council on the Arts The Newburgh Institute for the Arts & Ideas The PECO Foundation Pfizer Foundation Pirret Fund of the Bessemer National Gift Fund Richenthal Foundation Rosenthal Family Foundation The Scherman Foundation Shakespeare in American Communities The Shubert Foundation Stavros Niarchos Foundation Sullivan & Cromwell LLP The Ted and Mary Jo Shen Charitable Gift Trust Teeple Family Charitable Fund at the Greater Alliance Foundation Theatre Communications Group TheaterMania.com, Inc. The Thompson Family Foundation, Inc. Tony Randall Theatrical Fund Triangle Community Foundation Barbara and David Zalaznick Foundation
2O16 - 2O17 SEASON FUNDERS
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