I went to see Pacific Overtures Tuesday night with a friend of mine. Both of us adore the musical and we were BEYOND thrilled to step into the theatre that night and see what Doyle, Takei, Harada and everyone were planning to offer us. Before the house opened, we were discussing a little trepidation we were feeling about the running time being cut down to 100 minutes. Personally, the many 'asides' of the play are exactly what seared the play into my mind in the first place, aside
The only thing The Visit took from that dreadful Bernhard Wiki film was the name of the lead. Thankfully, in many ways, the musical stays close to the play except where it makes its own unique diversions. It even includes details from the original script that didn't make it into Valency's first 'translation' of the play.
So, what's her real problem here? Snark? Because she and Annoying Actor Friend and their cohorts on twitter are all snark machines. Anonymity? Because I've always seen people railing against anonymity to be no more than "say it to my face" types, all bark and pond scum. It is because we made her dog cry? Because no one made her dog cry (what even was that about).
The one that comes immediately to mind is Maxwell Anderson's Key Largo. It ran for a little more than 100 performances on broadway, but became a giant John Huston hit, a classic, an award-winner, and a legendary piece of history.
It's unconscionable the way she's dragging her fellow actresses into this, supposedly quoting them and using their names completely without their permission. That is so absolutely unfair to both of them, especially if they were actually treated so poorly by Kulick.
broadwayboy223 said: "So this is a musical Mother Courage? Everyone keeps mentioning Ducan Sheik "
Brecht's plays are always sort-of musicals, operettas or "plays with music". If Kurt Weill wrote the score, we usually keep it. If someone else was the composer, like in the case of Mother Courage and Paul Dessau, we like to revise the score every time it's produced. So this time around, the duties were given to Duncan Sheik.
I do love her with red hair. That's such a central part of the play's imagery and, as beautiful as Doyle's production was, I really missed having it. Especially since Chita really rocks that hue. If you want to look at bigger, more flamboyant Claire's, look up the play on youtube. It is often a showcase for some of the best Grande Dames working in the theatre.
There is also the consideration that the Durrenmatt's play is a very different beast than Valency's adaptation, which takes a lot of liberties with the text. To get a true image of Durrenmatt's vision, the best translation to go with is Joel Agee's. Patrick Bowles also wrote a wonderful english translation but it is incomplete, missing a scene that Durrenmatt added in the 80s where Ill (Shill/Shell in the adaptations) threatens to kill Clara.