[While I was in the Washington, D.C., area recently, the Washington Post ran a brief column reporting that Jonathan
Tunick, the orchestrator and arranger of many stage musicals, was the winner of
this year’s Stephen Sondheim Award, given by
Arlington, Virginia’s Signature Theatre to honor “those who have contributed to the
works of legendary composer, Stephen Sondheim, and the canon of
American theater.” Tunick is the fifth
recipient of the award, the gala presentation of which is hosted by the Embassy
of Italy in Washington. Tunick, the
first orchestrator to win a Tony Award (Titanic in 1997), is one of only 12 people to have
also received an Emmy Award, a Grammy Award, and an Oscar, the Grand Slam of
performance awards sometimes known as EGOT.
(The other 11 are actors John Gielgud, Helen
Hayes, Audrey Hepburn, Rita Moreno and Whoopi Goldberg; composers Marvin
Hamlisch, Richard Rodgers, and Robert Lopez; director/screenwriter Mel Brooks;
director Mike Nichols; and producer Scott Rudin. Hamlisch and Rodgers also won Pulitzers, and
three other artists have also won all four awards, but one of theirs was an
honorary or special award.)
[The Signature’s citation for Tunick’s Sondheim Award
reads in part: “Jonathan Tunick’s work defines the modern sound of
Broadway. While best known for his
association with Stephen Sondheim (Mr. Tunick has scored almost all of
Sondheim’s musicals), he was the recipient of the first Tony Award for Best
Orchestrations for his work on Titanic:
The Musical. In total,
Jonathan Tunick has orchestrated, re-orchestrated or composed for nearly 60
musicals, 13 films and more than two dozen television programs.”
[The Stephen Sondheim Award was established in 2009 in
honor of the award-winning theatre writer and composer. Previous recipients have
been Angela Lansbury, Bernadette Peters, Patti LuPone and Hal Prince. Arlington’s Signature Theatre (not to be
confused with New York City’s Signature Theatre Company), whose self-declared
mission is “to produce contemporary musicals
and plays, reinvent classic musicals, develop new work, and reach its community
through engaging educational and outreach opportunities,” was founded in 1990 by Eric Schaeffer (the current artistic director) and Donna Lillard
Migliaccio and has produced 23 Sondheim plays in the years since.
[Tunick, inducted into the American Theatre Hall of Fame in
January 2009, has orchestrated nine of Sondheim’s scores, nearly every one of
the composer’s works since Company in 1970, plus two compilations based on
Sondheim music, and re-orchestrated several more, including the 1962 romp A
Funny Thing Happened on the Way to the Forum (for the 1996 revival). In 1976,
I saw the début production of Pacific Overtures (which premièred on 11 January), Sondheim’s collaboration with John Weidman,
and on 30 April of that year, I wrote a review of the performance. I’m posting that unpublished review from my
archives as a tribute to Tunick’s work. ~Rick]
Stephen
Sondheim has finally found the appropriate vehicle for his kind of
musical. Pacific Overtures, now
playing at Broadway’s Winter Garden Theatre, directed by Harold Prince with
book by John Weidman, is a quasi-Kabuki rendering of the opening of Japan to
Western trade by Commodore Matthew Calbraith Perry in July 1853, and the events
thereafter.
Appropriate is perhaps a poor word; perfect
would be a better choice. From the
moment Act I started with three Japanese musicians revolving into view to the
closing number, “Next,” I was scarcely able to keep my cool. And the Lion Dance, a traditional Kabuki
dance here combined with a cake-walk, performed with truly magnificent grace
and agility by Commodore Perry (Haruki Fujimoto) to close the first act, is an
experience I won’t soon forget. Wearing
an Uncle Sam suit and a long, white mane, Fujimoto looks leonine and hoary at
one and the same time. Act II opens with
an awesome collection of foreign admirals shaking hands—and
sabers—with the Shogun of Japan. The caricaturizations, from the Japanese
viewpoint, of the American, British, Dutch, Russian, and French powers is a
delightful bit of balloon-bursting.
The
employment of modified Kabuki techniques works to create a unique feeling of
timelessness and agelessness. The
traditional costuming by Florence Klotz and the stylized sets by Boris Aronson
lend the production an air of the subtle grace of Japan while the use of
traditional make-up by Richard Allen creates an atmosphere of exoticism and remoteness. Since Overtures is about the Japanese
view of the opening of Japan, these qualities are most effective. The opening, it appears, was a subject of
fear and trembling and was more a case of “scratch my back or I’ll break
yours!” (The title carries a subtle,
ironic double-entendre, meaning both the musical opening of the Pacific and, in
Perry’s own use of the term, the “peaceful proposals” of trade with Japan.)
The musical numbers, ranging from
quasi-traditional Japanese songs to near-vaudeville comedy routines
(“Chrysanthemum Tea” and “Please Hello”) with a rousing indictment of
neo-Japanese capitalism in “Next,” tell a story of sacred isolation (“The
Advantages of Floating in the Middle of the
Sea”), xenophobia (“Four Black Dragons”), confusion (“Someone in a Tree”), and
foreign contamination (“A Bowler Hat”).
Each is more exciting and intriguing than the previous one. Had the intermission not given me time to
come down, I might have suffered severe cardiac damage from over-stimulation.
The performances are uniformly superior with
the notable exception of Mako, the reciter, or narrator of the story. For some inexplicable reason, he made three
major line flubs, one during the recitation of a haiku and one while
singing “Please Hello.” It could have
been “one of those nights,” but it momentarily dampened my enthusiasm.
Jonathan
Tunick’s use of traditional Japanese instruments and songs as incidental music
is inspired and beautiful, Patricia Birch’s choreography, particularly the
magnificent Lion Dance and the dancing of “Poems” and “Pretty Lady” is smooth
and cool, like Mount Fuji viewed from a distance. Of particular fascination for me were the
masks and dolls (used to portray the emperor).
I congratulate Sondheim and Weidman on a
landmark theatrical achievement. It is
truly a show I did not want to see end.
[The Sondheim Award
gala at the Italian embassy on 7 April of this year featured an 18-piece
orchestra and performances by Ron
Raines (Follies, Show Boat), Heidi Blickenstaff ([title of show], Meet
John Doe) and Pamela Myers (Company, Into
the Woods), among others. Heidi Blickenstaff, readers of ROT may recall, played Cleo, the best friend of Rosabella,
in the Encores! concert of Frank Loesser’s The Most Happy Fella, on which I reported here on 10 April.]
On 9 February, the "Arts, Briefly," column of the New York Times "Arts" section included an item entitled "Stephen Sondheim to Receive PEN Literary Award" by Andrew R. Chow. Below is an excerpt of the announcement from the on-line version, posted on 8 February:
ReplyDelete"Stephen Sondheim has been awarded the 2017 PEN/Allen Foundation Literary Service Award — making him the first composer-lyricist to win it.
"The prize is given annually to a 'critically acclaimed writer whose body of work helps us understand and interpret the human condition,' according to PEN America's news release. While the prize has mostly gone to novelists, including Salman Rushdie and Toni Morrison, Mr. Sondheim has made an undeniable impact on the last 60 years of culture by writing musicals including 'West Side Story,' 'Sweeney Todd' and 'Company.'
". . . .
"'Stephen Sondheim has really given voice to complex aspects of the human spirit: to nuance, to psychology, to inner voices,' Andrew Solomon, president of PEN America, said in a phone interview. 'His work points to the significance of living a moral life, and that's never felt more urgent than right now.'
Mr. Sondheim will be honored by PEN on April 25 at the American Museum of Natural History, with Meryl Streep presenting the prize. She starred in the 2014 film adaptation of Mr. Sondheim’s 'Into the Woods,' and received an Oscar nomination for her role.
"This weekend Mr. Sondheim's work will be back on Broadway, with a revival of the Pulitzer Prize-winning 'Sunday in the Park with George' starring Jake Gyllenhaal. And he's working on a new musical inspired by the works of Luis Buñuel, tentatively slated to arrive at the Public Theater sometime this year.
". . . ."
~Rick