It’s the same idea with John and Pacific Overtures – it’s the essence of Japanese simplicity: essentialism.Īnd I think it’s good he didn’t have you play an instrument – that might’ve interfered. If you look at a Japanese painting, you’ll see brush strokes, there is a scroll, and then another stroke, and that’s the mountain, and there’s all this negative space that takes on such profundity. But I think what he’s done here is take that spectacular Broadway production and essentially reached his own sense of theatre – the essence of Japanese aesthetics, which is simplicity, essentialism and elegance. As you know, he famously puts his own stamp on every production, including Stephen Sondheim productions. I did Pacific Overtures in 2002 in Ohio – that was more or less based on the Broadway production, so it is dramatically changed from that. Not only the Reciter in the production, but the whole production itself has been dramatically changed.
Has that effected your performance in any way? The role of the Reciter has been altered for this production. Immediately I called my agent and asked him to make some inquiries into the part of the Reciter for me and he called back to say they wanted me. I read in The New York Times in the “Arts, Briefly” section that the Classic Stage Company was considering Pacific Overtures as a revival. How did you become involved with the production?
#JULIA MCKENZIE STAR TREK SERIES#
George Takei, for example, will be forever remembered as the calm-natured science officer Hiraku Sulu in the original Star Trek TV series and subsequent movies.īut the Los Angeles-born actor – who has a star on the Hollywood Walk of Fame and was awarded a Distinguished Medal of Honor for Lifetime Achievement and Public Service by the Japanese American National Museum – has many strings to his bow: politician, novelist, LBGTQ activist, socialmedia broadcaster, and most recently the headliner in the Classic Stage Company’s acclaimed production of Pacific Overtures, directed by John Doyle.įollowing the press night of the production, Takei took time out of his busy schedule to speak to the Society’s New York contributor, Daria Begley, about his return to the role, having first played the Reciter back in 2002.
#JULIA MCKENZIE STAR TREK MOVIE#
Our US correspondent Daria Begley says “Please Hello” to the Reciter in John Doyle’s Pacific Overtures, George Takei – an actor you might know better for his role as Sulu in Star TrekĪs an actor, the downside of a successful career in a TV and/or movie series must be that you become known for nothing else, forever typecast in the same role. Reproduced below is a sample article: A Q&A with TV and movie star George Takei, as interviewed by Daria Begley. The magazine also features news relating to new and upcoming Sondheim productions we follow the careers of the many students who've taken part in The Stephen Sondheim Student Performer of the Year competition (aka SSSSPOTY) we feature Q&As with the casts and creatives of all the major Sondheim productions in the UK and beyond and we strive to include as many educational and informative pieces as possible about the output of Mr Sondheim and his collaborators. Our New York correspondent is Daria Begley, who provides an exhaustive column on The American Perspective.
In regular (non-COVID!) years, we use the magazine to print reviews of recent productions by the trustees - and in particular Craig Glenday (Chair) and David Lardi - and contributors such theatre critic Jeremy Chapman, who also writes a regular column on the UK cabaret scene. The Stephen Sondheim Society publishes a journal, Sondheim The Magazine, that has grown from a few photocopied pages to a full-colour publication packed with news, reviews, interviews and features.
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