Stephen Sondheim and John Weidman (authors of Assassins) mix elements of Kabuki theatre with the conventions of the Broadway musical in Pacific Overtures, a highly original, inventive, powerful, educational and surprisingly humorous theatrical experience. Considered by many to be the artistic pinnacle of the legendary Sondheim/Prince collaborations, this exploration of culture and imperialism pushes the boundaries of musical theatre further than ever before. Commodore Matthew Perry's 1853 mission to open trade relations with isolationist Japan through gunboat diplomacy forges an unlikely friendship between the samurai, Kayama, and the Americanized fisherman, Manjiro. Kayama and Manjiro – and all of Japanese society – must face the wave of Westernization that follows. Pacific Overtures explores how structures of power are dislodged and replaced by one another, be it in the name of modernity, imperialism, or survival. It presents a range of characters who see their lives upended in the face of global upheaval. The grandiose aesthetics of kabuki embellish the story in larger-than-life scope as the characters struggle to reconcile tradition with modernity, the world around them rapidly transforming through the inevitable ebb and flow of history. In Pacific Overtures we of Kunoichi Productions see ourselves reflected, grappling with our hybridity. As natives, professionals in, and subject matter experts of traditional Japanese theatrical forms such as noh, kyogen, and kabuki, our production team brings to bear a fuller understanding of the cultural aesthetics Sondheim and Weidman employed in the foundations of the piece. As modern artists, we not only our traditions, but also mastery of ballet, modern dance, and contemporary visual art. Character breakdown 10 principal, 2 understudies Min. 4 AEA All performers will play multiple roles throughout the show The Reciter: Played by Keiko Shimosato Carreiro 50+. The voice of retrospection. Leads the audience into and through the tale of history. In this production, the Reciter will be someone rekindling their connection to their heritage as a person of a diaspora. Reflective, contemplative, voyager. Contralto. Principal Songs: The Advantages of Floating in the Middle of the Sea, Someone in a Tree, Next Kayama: 30’s-50’s. The central character of the events that unfold. A low-level samurai catapulted into history who unintentionally rises through the ranks and slowly succumbs to the inevitability of Westernization. Through him we see the inevitable grind of progress. Dedicated, thoughtful, restrained. Bari-tenor. Principal Songs: There Is No Other Way, Poems, A Bowler Hat Manjiro: 30’s. Sailor who spent many years in Boston after being shipwrecked. Returns to Japan to herald the coming of the American fleet and forced to act as translator. Elevated to samurai status through a twist of fate while extolling the virtues of the West, slowly becomes the voice of tradition. Fresh-faced, cheerful, pleasant. Tenor. Principal Songs: Poems Abe (and others) 50+. The voice of tradition. Proud soldier who stands with the Shogun until the very end. Gruff, unimpressed, grumpy. Baritone/Bass. Principal Songs: Someone In a Tree (as the Old Man), Please Hello Tamate (and others): Any age. Wife of Kayama, victim of fate. Resigns herself to a grim fate when Kayama is called upon by the Shogun early in the show. Regal, determined, noble. Playing many of the supporting roles, this track also calls for strong comedic sensibility and strong physical character work, particularly as the American Soldier. Soprano. Principal Songs: There Is No Other Way, Please Hello (as French Admiral) Madam (and others): Any age. Owner of a prosperous brothel in Kanagawa. Clever, shrewd, very funny. Largest female vocal track in the show. Strong music skills and solid comedic timing are a must for this track. Puppeteering skills are desirable. Alto. Principal Songs: Four Black Dragons (as Thief), Welcome to Kanagawa, Please Hello (as British Admiral) Admiral Perry (and others): Any age. Foreign invader lurking behind every plot twist. Determined to force Japan to trade, Perry treats the country and its customs with gross disdain. The role is presented as a kabuki-style demon, larger-than-life in a malignant, twisted way. This role will feature a complex Noh-based demon dance instead of the original lion dance. Sinister, monstrous, otherworldly. This track is the most movement-heavy in the show. Strong movement skills required; strong dance skills beneficial. Tenor. Principal Songs: Please Hello (as German Admiral), Pretty Lady (as Sailor 2) Boy in the tree (and others): Youthful age. Puppeteer of a 10 year old boy, the titular character of Someone In A Tree (Sondheim’s self-confessed favorite song he ever wrote). Youth and wonder are central. Track includes a member of the sailor trio in Pretty Lady, many other distinct comedic characters, and calls for good puppeteering skills. Light Tenor. Principal Songs: Someone In A Tree, Pretty Lady (as Sailor 3) Shogun’s Mother (and others): Any age. Desperately trying to remove the Shogun and save the country from his indulgences and inaction. She is cruel to her son’s wife but even crueler to her son. Cunning, aggressive, duplicitous. Tenor. Note: This role is traditionally played by a man in drag, but could be played by anyone of any gender expression. Principal Songs: Chrysanthemum Tea, Please Hello (as Dutch Admiral), Pretty Lady (as Sailor 1); if this track is played by a soprano or alto, Pretty Lady would not be included. Warrior (and others): Any age. A witness to history, though not an active part in it. This is the largest vocal track in the show. Baritone. Principal Songs: Four Black Dragons (as Fisherman), Please Hello (as Russian Admiral), Someone In A Tree; if the Shogun’s Mother track is played by a soprano or alto, Pretty Lady would be added to the Warrior track.