[THEATER] Amon Miyamoto - Broadway's 1st Director from Japan
- Broadway's Fondest, Furthest Fan Comes Home
By JESSE GREEN
Amon Miyamoto is the first Japanese citizen to direct a Broadway
show, the Stephen Sondheim-John Weidman musical "Pacific Overtures,"
with B. D. Wong.
Gorgeous Entertainment Inc. manages Amon Miyamoto in America.
Contact for PACIFIC OVERTURES and Amon Miyamoto: Kumiko Yoshii,
In outline, the story is familiar: a high-strung boy who cries at
anything (yet is so shy he cannot talk to schoolmates) harbors
peculiar, passionate interests he feels sure no one can understand.
Alienated from his rageful father, who thinks he is a freak, he is
alone in his imaginings - alone except for his mother. Ah, the
devoted mother: ambitious and creative and frustrated and unwell, a
former showgirl who gave up performing when she married a man whose
family did not approve. She understands. Instead of glowering
incredulously (as the father does) when the boy, in his underwear,
works out dance routines to the accompaniment of his love-
worn "Gypsy," "Seesaw" and "A Chorus Line" LP's, she teaches him how
to make the dances better. "Every single note of rhythm is
important," she says. "And you must do it over until you get it
right." Through this discipline the boy will one day become
powerful; in the meantime, absorbing the messages encoded in the
lyrics, he will come to feel that there are people like him
somewhere, that he might eventually be happy, just as in "West Side
Story" if you ignore the part where everyone dies.
We have a name for this kind of boy in America; several, really, for
he's a common type. But the story is more unusual than it seems, and
not only because the boy in question actually made it big in show
business, whereas most teenage theater queens just become adult
theater queens. It's also unusual because it took place in a cramped
Tokyo apartment. The boy's routines were devised on tatami mats. His
mother's showbiz experience was as a dancer for American G.I.'s
stationed in Japan after World War II. And his father did not merely
threaten to cut off his allowance when the boy committed toko kyohi -
that is, refused to go to school - for a full year, spending it
locked in his bedroom, listening to "The Fantasticks" and "A Little
Night Music," translating the songs word by word from his English
dictionary. No, the father came at him through a gap in the door
with his family's heirloom samurai sword, slashing blindly and, in
the end, unsuccessfully: he was no match for a boy armed with the
cast album of "Pippin."
Whatever he might be called in Shaker Heights or in Fresno, there is
no name for this kind of creature in Japan except the one he was
given, Amon Miyamoto, because even now, at 46, he is pretty much
unique: a famous stage director, a major figure in promoting
Broadway-style musical theater to an Asian audience, a public
enthusiast in a button-down culture. Indeed, as a host of cultural
talk shows and a celebrity pitchman in beer commercials, he feels he
must be careful to maintain - at least for a Japanese audience - an
appropriate and discreet image of Japaneseness. Though he does not,
for example, speak about his personal life, he nevertheless projects
the kind of flamboyance that made him famous and that makes him a
comfortable figure in Broadway circles. In rehearsal recently for
the Roundabout Theater's revival of "Pacific Overtures," explaining
to the cast how a certain movement should look, he tried words (his
English is good) but quickly resorted to the universal language of
Fosse. "Like in 'Chicago,' " he said, demonstrating. "With the
It's only fitting that with "Pacific Overtures," which opens
Thursday at Studio 54, Mr. Miyamoto becomes the first Japanese
citizen ever to direct a Broadway production. Like him, the show is
an unusual and rather startling crosscultural experiment. When it
first opened in 1976 it was already ambitious enough: an American
musical purporting to tell the story of Commodore Perry's so-called
opening of Japan in 1853 from the perspective of the Japanese,
employing various forms of traditional dramaturgy (Kabuki masks,
onstage musicians, a lion dance) as well as the considerable
Broadway savvy of its director, Hal Prince, and its authors, Stephen
Sondheim and John Weidman.
In a series of suggestive scenes that are nothing like a normal
musical plot, Mr. Weidman's book swiftly traced (through the linked
stories of a fisherman and a minor samurai) the metastasizing
response to the "barbarian" invaders, from horror to accommodation
to imitation to fury and finally, in a fast-forward coda, to an
alarming modern amalgam of them all. Mr. Sondheim's score, weaving
together Japanese and Western elements (open harmonies, operetta
rhymes), evoked the increasing interconnectedness - and unresolved
tensions - of the two cultures.
Of course "Pacific Overtures" was a failure: too unfamiliar for
Broadway audiences, too formal, too complicated. And now Mr.
Miyamoto comes along to complicate it further. His Roundabout
production is an adaptation of a version he first directed at
Japan's New National Theater in 2000, and brought to the United
States for brief, acclaimed runs at Lincoln Center and in Washington
in 2002. But while that version was performed in Japanese by a
Japanese cast (pity the translator of such lyrics as "It's an herb
that's superb for disturbances at sea"), the cast at the Roundabout
is Asian-American, and the language is once again English. The
resulting hall-of-mirror perspectives - Japanese history written by
American artists using Japanese techniques as revisited by an
American cast overseen by a Japanese director who is a devotee of
American theater - make it hard to pin down exactly whose
story "Pacific Overtures" now tells. "It's so twisty!" Mr. Miyamoto
said in an interview, gleefully. Which may be the point.
If Mr. Miyamoto could have been born in a trunk in the Princess
Theater in Pocatello, Idaho, he would have been. Alas, he was born
in a coffee shop across the street from the Embujo Theater in the
Shimbashi, or Geishatown, neighborhood of Tokyo. Well, not
literally, he admits. But the coffee shop, run by his parents, was
where the actors and dancers from the Embujo hung out, and so where
his life began. Making deliveries backstage, he watched performances
from the wings - one month a samurai play, the next month
Shakespeare - or observed from underneath, while the trapdoors and
turntables performed their elaborate choreography.
At first, he was drawn to the ritualized pleasures of traditional
Japanese forms, but soon his dream of becoming a tea ceremony
master - the equivalent of an American kid in the 1960's wanting to
be a priest or a harpist - was overtaken by something even weirder.
When he emerged from his year of toko kyohi, "a spring that had been
pressured down in me was sprung," he said. Upon returning to high
school, though his schoolmates had never seen an American stage
musical, he directed "Godspell" and played the role of Jesus.
That musical is a guilty pleasure for sophisticated Americans, but
it struck Mr. Miyamoto as profound. Talking about it even now, he
seemed ready to cry. "Sorry, this is my way!" he exclaimed. "I love
Broadway musicals and I respect this culture; it is very deep, not
just entertainment. It taught me a lot, about how to have a life."
There is something uncanny about seeing a dated American stereotype
superimposed on a contemporary Japanese person. Mr. Miyamoto's
favorite place to meet in New York is Cafe Edison: the so-called
Polish Tea Room, where older theater types nosh and trade war
stories. He wears mostly black clothes, brightly accented, on one
occasion with a polka-dot cravat. For a Japanese man, he is
uncommonly physical, touching friends and new acquaintances
constantly, hooting and clapping with pleasure in conversation,
misting over at a snatch of melody.
His enthusiasm seems boyish, even apart from his youthful looks; he
says he resembles Curious George. When asked what current musicals
he likes, he looked down as if hunting for something nice to say. "I
love 'Avenue Q'!" he finally exclaimed, with relief. "And 'A New
Brain'!" - the William Finn musical from 1998.
Mr. Miyamoto's taste in theater may be catholic but it's also
refined; he loves Pina Bausch and Peter Brook, too. As an outsider
he takes Western culture more seriously than we do, and in his 20's
made a meticulous study of it on many trips to New York to see
musicals and learn American-style show dancing. "It wasn't that I
wanted to be a dancer," he said, "but I knew I was bad at
communicating with people, so I thought it was good to learn to do
it through dance." He also noted the lack of successors to director-
choreographers like Bob Fosse and Michael Bennett, and saw an
And so, having left college early to make his professional debut in
a Japanese production of "Seesaw," he quickly proceeded along the
path from chorus boy to dance captain to choreographer. American
musicals were just beginning to be popular in Japan, and he was a
success, but with no personal life to speak of and no art of his own
to make, he was not happy.
He still felt the existential aloneness of his youth, and on the day
before he opened in "Hair," his mother died. (He found her on the
bathroom floor of his Tokyo apartment, where she had collapsed while
washing his underwear.) Crushed, and feeling he could grow no
further in Japan, he escaped to London, where in two years he saw
750 plays and operas while taking dance lessons and working as a
maid in people's homes. He presented himself there as a would-be
director, but when someone at a party asked him what he wanted to
express, he was flummoxed. No one in Japan had ever posed that
Still, living in a foreign country "let me see myself from outside,"
he said. When he returned to Tokyo in 1987, he knew what he wanted.
He rented a tiny theater and invested all his money in a cubist
biographical musical he devised called "I Got Merman."
The huge success of the show - in which three Japanese actresses
embodied Ethel Merman, who was all but unknown in that country -
changed Mr. Miyamoto's life. "A fish finally got his water," he
said. That such a strange and personal work, as much about his own
conflicts as about the merging of Japanese and American
entertainment, should make him successful was profoundly satisfying:
one of those moments in which an artist is confirmed in his path and
a culture ratifies a formerly unacknowledged trend.
Since then he has directed and choreographed as many as five shows a
year, including major commercial versions of "Annie Get Your
Gun," "Anything Goes," "Candide" and "On the Twentieth Century." He
did not merely recreate the original Broadway stagings, as had
previously been the custom, but reimagined their emotional
topography, which now frequently took on a melancholic undertow.
At the same time he brought to these Western works an elemental
visual vocabulary based on the traditional Japanese depiction of
nature in art. He set "The Sound of Music" on a giant mound of
grassy earth covering the stage, a hill that was revealed in the
final number to be part of the much larger and seemingly endless
mountain chain that the protagonists must climb to safety.
MR. Miyamoto arrived each day at rehearsal for "Pacific Overtures"
very well organized, with binders, Post-it notes and color-coded
memos. Having directed the show before, he knew precisely what he
wanted. "He would say, 'On the fourth count of the second measure,
please say this word,' " recalled B. D. Wong, the Chinese-American
actor who plays the Reciter. "And then he'd do it with you."
To stage complicated numbers like "Four Black Dragons," in which
seemingly endless lines of terrified townsfolk hurry away from the
approaching American ships, he handed out an elaborate chart showing
the actors exactly what they should be doing, word by word. "In 20
minutes we knew the blocking," Mr. Wong said. "Which with anyone
else would have taken at least a day."
It's a good thing Mr. Miyamoto was so well prepared; the deceptively
spare production is among the most complicated and expensive the
Roundabout has mounted, and it is filled with effects that must be
perfectly executed to have their intended impact. In rehearsal, even
as those effects kept failing, Mr. Miyamoto remained calm and
enthusiastic: no diva moments, according to Mr. Wong. Mr. Miyamoto's
passion for musicals is unadulterated by the quasi-sadistic rage
that fuels so many directors.
The surprising result is a "Pacific Overtures" that feels more
American than the exaggerated Kabuki style of the original. The
Reciter - played by Mako in 1976 as a terrifying Voice of Japan - is
in Mr. Wong's portrayal a genial host. There are no traditional
masks. Yet Mr. Miyamoto did not attempt to untangle the material's
various perspectival knots. Indeed, he has added several. He
includes as much beefcake as a production of "Pacific Overtures" is
ever likely to accommodate, and has given the Shogun an unscripted
but historically plausible male companion.
He has retained the cross-dressing of the original where it suits
the humor of the piece: the awkward young prostitutes and their
instructive madam are still played by men. But having cast a woman
in the role of the fisherman's wife, he altered the impact of the
couple's scenes: "instead of looking at the idea of that
relationship," Mr. Weidman said, "the audience experiences the
To the few reviewers who were critical of the 2002 production, this
piecemeal approach seemed to denature something they saw as pure;
one called it a Starbucks version of musical theater. Mr. Miyamoto
doesn't mind that criticism; indeed, globalization is his
goal. "There is more than one kind of people in the world," he
said. "When I first worked on this show it was about Japan, after
the economic bubble burst and confidence was low. It was about the
pain of materialism. But when a world is changing we are all torn
people - you can hear that in Sondheim's lyrics. This is about
America too. We are all in each other's lives."
This could not have been the point of "Pacific Overtures" in 1976,
when, as Mr. Weidman pointed out, "the idea of eating raw fish in
New York was an exotic adventure." But what may be harder to accept
than the Americanization of sushi is the outsourcing of the musical.
If Mr. Miyamoto loves and respects a form that strikes many
Americans as hopelessly glitz-krieged, it's in part because he is
taken more seriously in his country than any musical theater artist,
except perhaps Mr. Sondheim, could ever be here.
Todd Haimes, the Roundabout's artistic director, said that 150 print
and television reporters turned out for the announcement in Japan
that this production was coming to New York. ("We do a press
conference like that here," Mr. Haimes said, "and we're lucky if we
get four writers and someone with an Instamatic.") Mr. Miyamoto may
find New York freer, more accommodating of eccentricity and
ambition; the boy who at 14, sporting an Afro and bell-bottoms,
would travel by himself on the night train to Kyoto to gaze at the
Buddhas may be less alone in the world thanks to his sublet on the
Upper West Side. Nevertheless, when he's finished being the first
Japanese director of a Broadway show (a show that is, after all,
about his own country), his next project is a major revival of "The
Fantasticks" - "I adore it!" - in Tokyo.
Born on January Fourth, 1958
Blood Type: O
After being an actor and choreographer, Amon Miyamoto went to study
in London and in New York for two years. When he came back to Japan
in 1987, he made his debut as a director with an original
musical, "I Got Merman." In the following year, in 1988, he received
the Directional National Arts Festival Prize for this work. He,
being one of the most remarkable directors at present, has been
extending his directing activity not only in musical, but also in
other fields including straight play and opera.
Fall 2004: Will become the first Asian ever to direct a Broadway
Record of Main Activity
February - March He directed "Urine Town" at Nissei
April He directed "Candide" at Tokyo International Forum,Tokyo
June He directed "Into The Woods" at the New National Theatre,Tokyo.
July He directed opera "Don Giovanni" for Nikikai Opera at Tokyo
Fall Will debut and direct "Pacific Overtures" on@Broadway,@
NewYork,USA. He will be a first Asian person who directs a musical
January - March Miyamoto's version of "The Fantasticks" performed
and toured in 14 cities, Japan.
February He directed "The Marriage of Figaro" for the Nikikai Opera
March He wrote and directed "Hello Kitty,Dream Revue 2" at Sanrio
July - September He brought his New National Theatre production
of "Pacific Overtures" to Lincoln Center and Kennedy Center (USA).
October Back in Japan performance of "Pacific Overtures" at the New
National Theatre as well as the Japan tour of "I Got Merman."
January He directed "Boys Time." It was performed at PARCO Theatre
and other places including Osaka.
June He directed a Broadway musical, "Candide" (conducted by Yutaka
September He presented "I Got Merman" in Stamford, Connecticut,USA.
November His autobiography "ALIVE" is to be issued from NHK
From December 25th to January 2002. He is to direct new original
musical "The Nutcracker" composed by Micheal John Lachivsa in the
form of musical for the first time in the world.
March He created and directed "1 'ONE' Hello Kitty Dream Revue" at
April He directed the special version of "I Got Merman" for the
opening of a new theatre, TBS Akasaka ACT Theatre.
April - He has been appearing in NHK General's "Otoko-no-Shokusai
(Man's Colorful Meal)" as a semi-regular guest.
April 26th He directed Mozart's "Cosi Fan Tutti" (in the form of
concert) at Osaka International Festival. It was conducted by Yutaka
July He put "Unidentified Human Remains and the True Nature of
Love" again on the stage for the first time in seven years at PARCO
October The tour of "I Got Merman" opened. The new cast members
(Witchy Sisters) also appeared.
October He directed the Japan Premiere of a Broadway
musical, "Pacific Overtures," at New National Theatre Tokyo.
December He directed "I Got Merman" at Hakuhinkan Theatre.
December He directed "Girls Time" which was performed at PARCO
In October, he put his legendary debut work "I Got Merman" again on
the stage for the first time in almost eight years. It extended to a
national tour starting in Tokyo (Hakuhinkan Theatre).
December 31st - He presented an original musical, "Boys Time." It
extended to a national tour starting at PARCO Theatre.
In March, the film "BEAT" (starring: Yuki Uchida, Claude Maki) was
completed and was released in September of the same year.
In October, he returned to directing stage work and presented a
collection of dance performances, "7"-The Seven Deadly Sins-
/ "PLAYERS" -From the Shipwreck of Titanic- / "PULSE".
He started the production of his first directed feature
film, "BEAT," in which the story takes place in Okinawa.
March He presented Amon's version of "Tanuki-Goten (The Palace of
Raccoon Dog)" at Shinbashi Enbujo.
May He put the straight play "Mary Stuart" again on stage at
Feburary - March He presented the first stage work in a year, an
original musical "The Tropical Feast Play: Maui" in Tokyo and Osaka.
In April, May, and August he staged "Sound of Music" again in Tokyo,
Nagoya, and Osaka.
In June, he presented a straight play "La Traviata" at PARCO
From November to December, he presented an original musical "Girls
Time" at PARCO Theatre.
From December to January 1996, he put a straight play "Spiral" on
stage at Benisan Pit.
He put "The Psychedelic KABUKI: Lunar Eclipse" on stage in Tokyo and
Kobe. It was his only stage work in 1994.
March - April He presented the first original musical "Hong Kong
Rhapsody" with Dick Lee, the standard-bearer of Asian pops, in Tokyo
In October, he presented a straight play "Unidentified Human Remains
and the True Nature of Love," which was the first public performance
in Japan, at PARCO Theatre.
May - July The final long-run performance of "I Got Merman" at
In November, he appeared on the stage as an actor in
Kafka's "Metamorphosis,"directed by Steven Berkoff.
NHK General "Ningen-Map AMON COMEON" M.C. (April,'94-September)
TBS "Kagayaku! Nihon Record Grand Prix" M.C. (December 31st,
'93 and '94)
NHK "New Year Opera Concert" M.C. (January 3rd,
'93 and '94)
Chukyo-TV "Kirei-Suteki" M.C. (October,'94-March,'95)
TV Asahi "Oh! Eru-Club" M.C. (October,'94-March,'95)
NHK General "Shin-Otoko no Shokutaku" Guest (April,'00-)
NHK Education "Art Theatre" M.C. (Every other week) (April,'00-)
TOKYO FM "BANYU Talking Gallery" Personality (April '96-March '98)
¦Others: He has been appearing on so many TV and radio programs as
M.C. and a guest.
Nescafe Gold Blend (September 1st,'93-August 31st,'94)
Kanebo Testimo (October,'94 - September,'95)
Nestle Gift Set (November,'96-October,'97)
Daishi Bank (April 1st,'98-March,'00)
Nomura Real Estate "Ciel's Garden" Image Character (September,'01-
Orion Beer (October,'01 - September,'02)
Musical "I GOT MERMAN"
Musical "Anything Goes"
Musical "Annie get your gun"
Musical "The Sound of music"
Musical "Opera do Malandro"
Musical "On The 20th Century"
Musical "Hong Kong Rhapsody"
Musical "The Psychedelic KABUKI: Lunar Eclipse"
Musical "The Tropical Feast Play: Maui"
Musical "TANUKI - GOTEN"
Musical "Pacific Overtures"
Musical "Girls Time"
Musical "Boys Time"
Musical "The Fantastics"
Musical "Urine Town"
Musical "INTO THE WOODS"
Opera "L'elisir d' Amore"
Opera "Cosi Fan Tutte"
Opera "The Marriage of Figaro"
Opera "Don Giovanni"
Operetta "The Marry Widow"
Straight Play "Mary Stuart"
Straight Play "Unidentified Human Remains and
the True Nature of Love"
Straight Play "La Traviata"
Straight Play William Shakespeare's "Much Ado About Nothing"
* The 55th International Venice Film Festival
Officially Invited Film for International Critics' Week
* Screened at Stockholm International Film Festival
"Deep Kiss to Musical!" (Magazinehouse 1992)
"Amon Diary: Extremely Personal Thoughts on Opera"
(Ongaku No Tomo Sha Corp 1996)
"ALIVE" (NHK Publishing 2001)
"1992 Golden Arrow Theatre Award" Winner
"1993 Sponichi Grand Prix Culture Art Grand Prize" Prize Winner
"1994 Best Dresser Award, Art and Culture Category" Prize Winner
Pacific Overtures - Groundbreaking Musical Returns To Broadway
Following this season's triumphant production of "Assassins,"
Roundabout Theater presents another landmark musical by Stephen
Sondheim and John Weidman. Tony Award winner B.D. Wong (Madame
Butterfly) stars in "Pacific Overtures, "a brilliant tale of culture
clash as sparked by America's 1853 mission to westernize Japan. A
show of sheer theatrical genius, the work features Sondheim's most
daring music Ean adventurous blend of Broadway razzle-dazzle and
pure Eastern beauty. Visionary Japanese Director Amon Miyamoto
brings a fresh perspective to this American musical masterpiece.
Spanning 150 years, "Pacific Overtures" tells the story of Commodore
Matthew Perry's arrival in the "Floating Kingdom" of Nippon in 1853.
The landmark musical chronicles the influence America had upon
Japan, detailing and dramatizing the Westernization of Japanese
culture. The style of the musical, with music and lyrics written by
Sondheim, is based on ancient forms of Japanese theater such as
Kabuki and Noh. "Pacific Overtures" originally opened at the Winter
Garden on January 11,1976 under the direction of Harold Prince. The
Tony Award-winning production ran for 193 performances.
One of Japan's most successful theatrical and musical directors,
Amon Miyamoto will lend his considerable energy, talent and unique
experience to this historic Broadway revival. After several years of
performing and choreographing, as well as studying in London and New
York, Amon Miyamoto returned to Japan in 1987, where he made his
debut as a director with the original musical play, "I Got Merman,"
which received a National Arts Festival Award in1988. Miyamoto has
directed plays, operas and numerous musical productions, including
Pam Jems' "Camille," Brad Fraser's "Unidentified Human Remains and
the True Nature of Love, "Leonard Bernstein's "Candide," Cole
Porter's "Anything Goes" and Mozart's opera, "The Marriage of
Figaro. "His debut film, "BEAT," won critical acclaim at the 1998
Venice Film Festival.
Miyamoto's staging of "Pacific Overtures" has been presented at the
New National Theatre, Tokyo, the Lincoln Center Festival and the
Kennedy Center's Sondheim Festival. In 2004,
Miyamoto will be directing "Urinetown," "Into the Woods," "Candide"
and the opera "Don Giovanni" in Japan.
"Pacific Overtures" is based on a book written by John Weidman, who
has co-authored, with Timothy Crouse, the new book for Lincoln
Center Theater's revival of Cole Porter's "Anything Goes." Since
1986, Weidman has written for "Sesame Street" and, among his
numerous honors, has received eleven Emmy Awards for Outstanding
Writing for a Children's Program.
Among Stephen Sondheim's many musical and theatrical achievements
are the music and lyrics he composed and wrote for such Broadway
hits as "Passion"(1994), "Assassins"(1991), "Into the
Woods"(1987), "Sunday in the Park with George"(1984), "Merrily We
Roll Along"(1981), "Sweeney Todd"(1979), and "A Funny Thing Happened
on the Way to the Forum"(1962). He also wrote the lyrics for "West
Side Story"(1957), "Gypsy"(1959) and "Do I Hear a Waltz?"(1965), and
composed music for film and television productions. He has won Tony
Awards for Best Score for a Musical, a Pulitzer Prize for Drama, and
several New York Drama Critics Circle Awards, including one
for "Pacific OverturesE
Actor B.D. Wong last performed at the Roundabout Off-Broadway
in "The Tempest" (1989). His first book, Following Foo (The
Electronic Adventures of the Chestnut Man), is in bookstores now.
Born and raised in San Francisco, Wong is perhaps best remembered by
moviegoers for his diverse work in "Seven Years in Tibet," "Father
of the Bride" (Parts I and II) and as the voice of the
heroic "Shang" in Disney's animated hit, "Mulan."
The ensemble contains an impressive roster of experienced
The design set for "Pacific Overtures" includes Rumi Matsui (sets),
Junko Koshino (costumes), Brian Mac Devitt (lights) and Dan Moses
The show opens on November 12, 2004 and is scheduled to run through
January 30, 2005 at the Roundabout Theater at Studio 54 (254 West
54th Street Ebetween Broadway & 8th Avenue). Tickets are available
at the Studio 54 Box Office or can be ordered by phone at (212) 719-
1300. Performances are Tuesday ESaturday evenings at 8:00 p.m. with
Wednesday, Saturday and Sunday Matinees at 2:00 p.m.
Pre-opening information; subject to change
Studio 54, (12/2/2004 - )
Preview: Nov 12, 2004 Total Previews: 21
Opening: Dec 2, 2004
Closing: Total Performances: 0
Category: Musical, Comedy, Drama, Revival, Broadway
Setting: Japan, 1853-Present.
Opening Night Production Credits
Theatre Owned / Operated by The Roundabout Theatre Company (Todd
Haimes: Artistic Director;
Ellen Richard: Managing Director;
Julia C. Levy: Executive Director of External Affairs;
Gene Feist: Founding Director);
House Manager: LaConya Robinson
Produced by The Roundabout Theatre Company (Todd Haimes:
Artistic Director; Ellen Richard: Managing Director;
Julia C. Levy: Executive Director of External Affairs;
Gene Feist: Founding Director);
Produced in association with Gorgeous Entertainment
Music by Stephen Sondheim; Lyrics by Stephen Sondheim;
Book by John Weidman;
Additional Material by Hugh Wheeler;
Musical Director: Paul Gemignani;
Music orchestrated by Jonathan Tunick
Directed by Amon Miyamoto; Assistant Director: Scott Smith;
Choreographed by Amon Miyamoto; Associate Choreographer: Darren Lee
Set and Mask Design: Rumi Matsui;
Costume Design by Junko Koshino;
Costume Associate: Maiko Matsushima;
Lighting Design by Brian MacDevitt;
Assistant Lighting Design: Anne McMills and Rachel Eichorn;
Moving Light Programmer: David Arch;
Sound Design by Dan Moses Schreier;
Associate Sound Design: David Bullard
General Manager: Sydney Beers;
Company Manager: Nichole Larson
Production Stage Manager: Arthur Gaffin
Conducted by Paul Gemignani;
Associate Conductor: Mark Mitchell;
Flute / Clarinet: Dennis Anderson;
Cello: Deborah Assael;
Synthesizer #1: Paul Ford;
Synthesizer #2: Mark Mitchell;
Violin / Viola: Suzanne Ornstein;
Drums: Paul Pizzuti;
Percussion: Thad Wheeler
Associate Artistic Dir: Scott Ellis;
Casting: Jim Carnahan;
Dance Captain: Darren Lee;
Press Representative: Boneau / Bryan-Brown;
Assistant Dance Captain: Mayumi Omagari;
Fight direction by Kuzuki Takase;
Assistant to the Fight Director: Yoshihisa Kuwayama
Opening Night Cast
B. D. Wong / Reciter
Eric Bondoc / Swing
Evan D'Angeles / Observer, Warrior, Officer, British Admiral
Rick Edinger / Swing
Joseph Anthony Foronda / Thief
Yoko Fumoto / Tamate
Alvin Y. F. Ing / Shogun's Mother
Fred Isozaki / Noble
Francis Jue / Madam
Darren Lee / American Admiral
Hoon Lee / Sailor
Michael K. Lee / Kayama
Ming Lee / Councilor
Telly Leung / Boy
Paolo Montalban / Manjiro
Alan Muraoka / Councilor
Mayumi Omagari / Kanagawa Girl
Daniel Jay Park / Priest
Hazel Anne Raymundo / Shogun's Wife
Sab Shimono / Lord Abe
Yuka Takara / Son
Kim Varhola / Swing
Scott Watanabe / Fisherman
Understudies: Eric Bondoc (American Admiral, Boy, Councilor, Emperor
Priest, French Admiral, Kanagawa Girl, Noble, Observer, Officer,
Priest, Sailor, Shogun's Companion), Rick Edinger (British Admiral,
Commodore Matthew Calbraith Perry, Councilor, Fisherman,
Grandmother, Lord of the South, Merchant, Observer, Officer, Old
Man, Older Swordsman, Physician, Russian Admiral, Sailor, Shogun's
Mother, Warrior), Joseph Anthony Foronda (Reciter), Fred Isozaki
(Fisherman, Older Swordsman, Physician, Russian Admiral, Samurai,
Soothsayer, Storyteller, Thief), Darren Lee (Manjiro), Hoon Lee
(British Admiral, Observer, Officer, Samurai, Soothsayer,
Storyteller, Thief, Warrior), Ming Lee (Lord Abe, Old Man, Shogun's
Mother), Telly Leung (Kayama), Alan Muraoka (Dutch Admiral, Madam),
Daniel Jay Park (Sailor), Kim Varhola (Daughter, Kanagawa Girl,
Shogun's Wife, Shogun's Wife's Servant, Son, Tamate).