Not just Ohtani: Tokyo Series will showcase the depth of Japanese talent in Major League Baseball

TOKYO (AP) — The spotlight will be on slugger Shohei Ohtani this week when the superstar returns to Japan and leads the defending World Series champion Los Angeles Dodgers against the Chicago Cubs in the first two games of the Major League Baseball season at the Tokyo Dome.

He won't be the only one playing in front of his home country.

Four other Japanese players — LA's Yoshinobu Yamamoto and Roki Sasaki, along with Chicago's Seiya Suzuki and Shota Imanaga — will be on the field in a display of how deep the talent pool is in the country.

The outsized attention on Ohtani is understandable: He's coming off one of the best seasons in MLB history and won his third MVP award after becoming the first player to hit at least 50 homers and steal at least 50 bases in the same season.

Ohtani had offseason surgery on his left shoulder following the World Series but is expected to start at designated hitter for the Dodgers in Japan after hitting .353 with two doubles and a homer in spring training.

The other four Japanese players are all accomplished in their own right. Here's a look at each player as the opener approaches on March 18.

Yamamoto came to the Dodgers before last season, signing a $325 million, 12-year deal that was somewhat overshadowed by Ohtani's monster $700 million, 10-year deal.

When healthy, Yamamoto was very good in his first big league season, finishing with a 7-2 record, a 3.00 ERA and 105 strikeouts over 90 innings. He was also solid in the postseason with a 2-0 record and a 3.86 ERA.

Yamamoto missed about three months last season with a shoulder injury. The 26-year-old has been healthy so far this spring and will be the starting pitcher for the season opener on Tuesday.

He played seven seasons for the Orix Buffaloes in Japan before coming to the U.S., where he had a 70-29 record along with a miniscule 1.82 ERA.

The 30-year-old Suzuki has been an important part of the Cubs lineup for the past three seasons. He just finished his best season in the big leagues, batting .283 with 21 homers, 73 RBIs, 16 stolen bases and 27 doubles.

Suzuki has played most of his games in right field for the Cubs, but is just an average fielder. Manager Craig Counsell says Suzuki might be utilized more as a designated hitter this season after the addition of All-Star Kyle Tucker, who the team acquired in a trade with the Houston Astros.

He played nine seasons for the Hiroshima Carp before signing with the Cubs, batting .309 with 189 career homers.

Sasaki is the youngest of the Japanese players in Tokyo for this week's series at 23 years old.

This is the lanky 6-foot-2 right-hander's first season in the U.S. after playing four seasons for the Chiba Lotte Mariners, where he had an overpowering fastball that could touch 100 mph. He's dealt with injuries over the past few years, which has limited his time on the mound.

Even so, Sasaki was electric in his spring training debut earlier this month, striking out five over three scoreless innings. His fastball was clocked in the high 90s and he has a devastating splitter that coaxes plenty of swing-and-miss.

Sasaki signed a minor league contract that had a signing bonus of $6.5 million, though he's expected to be on the big league roster. Because he’s under 25 and did not have six years of service time in Japan, Sasaki was considered an international amateur by MLB’s rules and was limited to a minor league deal with a limited signing bonus.

The 31-year-old Imanaga made an immediate impact last season with the Cubs, making the National League All-Star team and finishing with a 15-3 record and 2.91 ERA. He's expected to be the team's ace in 2025 and will pitch against Yamamoto in the first game in Tokyo on Tuesday.

Imanaga doesn't have an overpowering fastball, with the pitch usually sitting in the low 90s, but the left-hander has a quality splitter and mixes his pitches well. Before coming to the U.S., he pitched eight seasons for the Yokohoma BayStars and was 64-50 with a 3.18 ERA.

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Los Angeles Dodgers pitcher Yoshinobu Yamamoto (18) throws during the first inning of a spring training baseball game against the Cincinnati Reds, Tuesday, March. 4, 2025, in Phoenix. (AP Photo/Darryl Webb)

Chicago Cubs left fielder Seiya Suzuki, of Japan, jogs off the field during the third inning of a spring training baseball game against the Arizona Diamondbacks, Monday, March 3, 2025, in Scottsdale, Ariz. (AP Photo/Ross D. Franklin)

Chicago Cubs' Seiya Suzuki, of Japan, pauses in the dugout prior to a spring training baseball game against the Arizona Diamondbacks, Monday, March 3, 2025, in Scottsdale, Ariz. (AP Photo/Ross D. Franklin)

Los Angeles Dodgers pitcher Roki Sasaki (11) rests in the dugout between the fifth and sixth inning of a spring training baseball game against the Cincinnati Reds, Tuesday, March. 4, 2025, in Phoenix. (AP Photo/Darryl Webb)

Los Angeles Dodgers pitcher Roki Sasaki (11) throws during the sixth inning of a spring training baseball game against the Cincinnati Reds, Tuesday, March. 4, 2025, in Phoenix. (AP Photo/Darryl Webb)

Los Angeles Dodgers pitcher Yoshinobu Yamamoto (18) throws during the third inning of a spring training baseball game against the Cincinnati Reds, Tuesday, March. 4, 2025, in Phoenix. (AP Photo/Darryl Webb)

NEW YORK (AP) — Three-time Tony Award-winner Charles Strouse, Broadway's industrious, master melody-maker who composed the music for such classic musical theater hits as "Annie," "Bye Bye Birdie" and "Applause," died Thursday. He was 96.

Strouse died at his home in New York City, his family said through the publicity agency The Press Room.

In a career that spanned more than 50 years, Strouse wrote more than a dozen Broadway musicals, as well as film scores and "Those Were the Days," the theme song for the sitcom "All in the Family."

Strouse turned out such popular — and catchy — show tunes as "Tomorrow," the optimistic anthem from "Annie," and the equally cheerful "Put on a Happy Face" from "Bye Bye Birdie," his first Broadway success.

"I work every day. Activity — it's a life force," the New York-born composer told The Associated Press during an interview on the eve of his 80th birthday in 2008. "When you enjoy doing what you're doing, which I do very much, I have something to get up for."

Deep into his 90s, he visited tours of his shows and met casts. Jenn Thompson, who appeared in the first “Annie” as Pepper and directed a touring version in 2024, recalls Strouse coming to auditions and shedding a tear when a young girl sang “Tomorrow.”

“He was tearing up and he put his hand on mine,” she recalled. “And he leaned in to me and very quietly said, ‘That was you. That used to be you.’ And I thought I would die. I thought my heart would drop out of my shoes.”

She added: “He’s so gorgeously generous and kind. He has always been that way.”

His Broadway career began in 1960 with “Bye Bye Birdie,” which Strouse wrote with lyricist Lee Adams and librettist Michael Stewart. “Birdie,” which starred Dick Van Dyke and Chita Rivera, told the tale of an Elvis Presley-like crooner named Conrad Birdie being drafted into the Army and its effect on one small Ohio town.

Strouse not only wrote the music, but he played piano at auditions while Edward Padula, the show’s neophyte producer, tried to attract financial backers for a production that would cost $185,000.

“We never stopped giving auditions — and people never gave money at all. The idea of using rock ‘n’ roll — everybody was so turned off,” Strouse said.

Finally, Padula found Texas oilman L. Slade Brown. When he heard the score, he said, in a Texas twang, “I like those songs,” pushed Strouse aside and picked out the tune of “Put on a Happy Face” on the piano.

Brown then said, “How much do you fellas need?” and wrote out a check for $75,000 to cover the start of rehearsals. “Suddenly, the world turned Technicolor,” Strouse remembered.

The popularity of “Birdie” spawned a film (with Van Dyke, Janet Leigh and Ann-Margret) in 1963 and a television adaptation with Jason Alexander and Vanessa Williams in 1995.

Strouse and Adams gave several non-musical theater stars, including Sammy Davis Jr. and Lauren Bacall, stage successes.

For “Golden Boy” (1964), based on the Clifford Odets play, Strouse and Adams had to get Davis' OK for everything. “His agents would not let him sign the contract until he approved every word and note that Lee and I wrote,” the composer told the AP. “Which meant that we had to, at great expense to the producer, follow Sammy all over the world. ... We spent three years of our lives, a week or so each month, out in Las Vegas, playing songs for him.”

“Applause” (1970) was adapted from the Mary Orr short story that became the cinema classic “All About Eve.” It was Bacall’s musical-theater debut, and the actress won a Tony for her performance, as did Strouse and Adams for their score.

But it was “Annie” (1977) that proved to be Strouse’s most durable — and long-running — Broadway hit (over 2,300 performances). Chronicling the Depression-era adventures of the celebrated comic strip character Little Orphan Annie, the musical featured lyrics by Martin Charnin and a book by Thomas Meehan.

It starred Andrea McArdle as the red-haired moppet and Dorothy Loudon, who won a Tony for her riotous portrayal of mean Miss Hannigan, who ran the orphanage. The musical contained gems such as “You’re Never Fully Dressed Without a Smile” and “It’s the Hard Knock Life.”

The 1982 film version, which featured Carol Burnett in Loudon’s role, was not nearly as popular or well-received. A sequel called “Annie Warbucks” ran off-Broadway in 1993. The show was revived on Broadway in 2012 and made into a film starring Quvenzhané Wallis in 2014. NBC put a version on network TV in 2021 called “Annie Live!”

Strouse and Charnin, who both won Grammy Awards for the “Annie” cast album, found shards of their work included in Jay-Z’s 1998 Grammy-winning album “Vol. 2... Hard Knock Life.”

“Tomorrow” has been heard on soundtracks from “Shrek 2″ to “Dave” to “You’ve Got Mail.” In 2016, Lukas Graham used parts of the chorus from “Annie” for his “Mama Said” hit.

Strouse had his share of flops, too, including two shows — “A Broadway Musical” (1978) and “Dance a Little Closer,” a 1983 musical written with Alan Jay Lerner, that closed after one performance. Among his other less-than-successful musicals were “All-American” (1962), starring Ray Bolger, “It’s a Bird... It’s a Plane... It’s Superman” (1966), directed by Harold Prince, and “Bring Back Birdie” (1981), a sequel to “Bye Bye Birdie.”

Yet even his flops contained impressive music, particularly “Rags” (1986), with lyrics by Stephen Schwartz, and “I and Albert” (1972), a musical about Queen Victoria that had a three-month run in London and was one of Strouse’s personal favorites. “All-American” also had a memorable ballad, “Once Upon a Time.”

Among Strouse’s film scores were the music for “Bonnie and Clyde” (1967) and “The Night They Raided Minsky’s” (1968).

One of Strouse last musicals was “Minsky’s.” A love story set against the backdrop of the fabled burlesque empire, it was the brainchild of English director Mike Ockrent, who died of leukemia in 1999 before the project was completed. By then, Strouse and lyricist Susan Birkenhead had written some dozen songs.

“Minsky’s” languished until Birkenhead ran into director-choreographer Casey Nicholaw, who asked Bob Martin, star and one of the authors of “The Drowsy Chaperone,” to write a new book. It opened in Los Angeles in 2009 but never made it to Broadway.

Strouse always wanted to be a composer and studied very seriously — first in the late 1940s at the Eastman School of Music in Rochester, New York, with composer Aaron Copland at the Tanglewood Music Center in Massachusetts and with composer, conductor and music professor Nadia Boulanger in Paris.

Theater beckoned when he and Adams got a chance in the early 1950s to write songs for weekly revues at an Adirondacks summer camp called Green Mansions. Such camps were the training ground for dozens of performers and writers.

“I would write a song and I would orchestrate it and copy the parts,” he said in the AP interview. “And rehearsal was the next day at nine, so at four in the morning, I am crossing the lake with the parts still wet. I just loved it. I never was happier.”

His wife, Barbara, died in 2023. He is survived by four children, Ben, Nick, Victoria and William.

FILE - Composer Charles Strouse is interviewed in his apartment, June 3, 2008, in New York. (AP Photo/Richard Drew, File)