{"id":3427,"date":"2024-11-27T08:45:10","date_gmt":"2024-11-27T16:45:10","guid":{"rendered":"https:\/\/musicalmakiko.com\/en\/?p=3427"},"modified":"2024-12-23T03:37:13","modified_gmt":"2024-12-23T11:37:13","slug":"transformative-power-of-theater","status":"publish","type":"post","link":"https:\/\/musicalmakiko.com\/en\/life-of-a-pianist\/3427","title":{"rendered":"Transformative Power of Theater"},"content":{"rendered":"\n

Do you know the East West Players<\/a>? Founded in 1965, they became the very first professional Asian-American theater group in the United States. Their home base is the Union Center for the Arts in Little Tokyo in Downtown Los Angeles. Today, it is the longest-running Asian American theater and the largest producer of Asian American theatrical works. Their vision is “to inspire and advocate for a world free of racism and discrimination through transformative artistic works.”<\/p>\n\n\n\n

This past weekend, I attended their production of the musical Pacific Overture<\/em> featuring music and lyrics by Stephen Sondheim. The musical covers the history of Japan from 1853 to around 1876, starting with the arrival of the “Black Ships” led by the U.S. Navy officer Commodore Matthew C. Perry. Perry’s mission forced Japan to revoke its 250-years of Sakoku <\/em>isolationist policy and open its ports to trade. Japan had to modernize and Westernize rapidly to negotiate with the U.S. – and soon after the other Western nations with similar agendas – on as equal terms as possible. During the upheaval of the Meiji Restoration, the feudal system was dismantled and samurais were asked to relinquish their ranks and swords. These events are presented as personal stories from the points of various Japanese characters. Some are told by the historical key players while others come from anonymous figures – passerby, women and children. Some are told in present tense, conveying a range of emotions: confusion, awe, and hope for a better future. Others stories are in past tense told as distant, and sometimes fading, memories.<\/p>\n\n\n\n

The musical follows several characters whose stories serve as threads throughout the narrative. For example, Eizaemon Kayama starts out as a minor samurai promoted to negotiate with Perry to leave Japan. As trade negotiations continue, he rises through the ranks, becomes increasingly Westernized, while falling deeply into alcoholism. Another key character, John Manjiro, was a teenage fisherman when his ship wrecked. Rescued by an American ship, he spent years in the U.S. before returning to Japan. Knowing this violated Japan’s isolationist policy (punishable by death), he risked his life to warn the Japanese of American intentions. He later becomes a significant figure in the trade negotiations, while developing nationalism to defend his motherland.<\/p>\n\n\n\n

The musical’s priority is to depict the impossibility of crafting a tidy narrative from such complex history and diverse viewpoints. For someone like me, who has endured imperialist productions of Madam Butterfly<\/em>, Turandot<\/em>, King and I<\/em>, etc. cringing in her seat, this was such a welcome relief. Moreover, every aspect of the production – set design, costumes, hair, makeup, music – was created by artists of Asian descent and\/or experts in Asian and Japanese culture. Even where there were some modernization and exaggerations, I could appreciate them as artistic choices grounded in cultural and historical authenticity. David Murakami’s projected visuals, which were part of the set design, were especially impressive. They transformed the stage into a fantastical space, transporting us beyond time and space.<\/p>\n\n\n\n

The finale “Next!” showcased Japan’s miraculous development especially after becoming world’s second largest economy in 1968. The actors dressed as instantly recognizable Japanese cultural icons – Pikachu, Yayoi Kusama, Shohei Otani, Hayao Miyazaki, and others – and danced joyfully. The audience cheered when the cast announced that East West Players’ production of Pacific Overture<\/em> had been extended until December 8th! What made me even happier was seeing the diverse audience, reflecting a wide range of backgrounds.<\/p>\n\n\n\n

I left the theater encouraged and inspired – as both a performing artist, and a Japanese person. Let the power of music heal us all.<\/p>\n\n\n\n

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