You can’t get around it. This show is far from perfect. In fact, it may be a far cry from the conventional definition of good. The storytelling is shaky, and so are some of the acting. Production value is minimal.
Still, for most of Chushingura 47 Ronin, I was hooked on the action and curious to see what happened next. Having seen three movie versions of the basic plot, it didn’t matter if I knew what was in store. Kenji Mizoguchi’s masterpiece “Forty Seven Ronin” From 1941. The more famous plays have not exerted such primordial appeal to me.
And this, about a band of warriors on a vengeful quest, is one of the best ever.The show is Art/New York Theatersis a retelling of events from 18th-century Japan that has spawned not only TV series, artwork, and cartoons, but so many films (including 2013’s surreal Misfire starring Keanu Reeves). ” is a general term for works inspired by the so-called Ako Incident.)
Now it’s time for New York startups Amaterasuproduces bilingual works rooted in Japanese sources and art forms. The show’s writer and director, Ako Dax, also appears regularly as the English narrator. The rest of the text is in Japanese, with simultaneous translation projected onto the super title where synchronization can be accidental. (The multitasking Dax also does period costumes and leads Amaterasu.)
As is often the case, the story begins when someone finally loses patience. Lord Kira (Hiroko Yonekura) is a rogue who repeatedly abuses Lord Asano (Yasushi Suzuki) on that fateful day at Edo Castle. Asano attacks and injures Kira.No one dies in the skirmish, but Asano breaks the rules of the castle by “unfairly” drawing his sword.He must commit ritual suicide. Not only that, his property will be confiscated and his samurai retinue and staff will be dismissed.
Back at Asano’s home in Ako, Prime Minister Oishi (Tatsuo Ichikawa) rallies a group of samurai, known as ronin (ronin) for their lack of masters, in a campaign to avenge Asano’s death and restore the honor of his clan.
This suggests a lot of action, but most of the show, which takes place on a fairly small stage, is devoted to chattering palace intrigues, as if eavesdropping on the conspirators. Some of Asano’s followers are disappointed at the prospect of losing an excuse to kill Kira when the shogun has the potential to revive the fallen clan. It has a messy way of changing.
Despite the potentially confusing description, it is not known how Oishi’s group of 56 ronin ended up with 47, for example, or that the Super Title may have been compressed too quickly. No. The story moves in steady clips. And Dax’s decision to have women play some of the male roles, most notably Kira, is very effective.
Of course, gender blind casting is not uncommon in Japanese theaters, and Dax himself is a former member of all women in the country. Takarazuka Revue (She is a household name on the New York stage under the name Ako, most notably Leah Nanako Winkler’s “Kentucky” and “God Said This”). For an actor playing a samurai to wear a traditional “chonmage” style headpiece with a ponytail folded over his head creates an androgynous uniformity. (The wig is Mitsuteru Okuyama)
Yes, “Chushingura—47 Ronin” is far from the best show. But now, this sprawling tale of adherence to rigid norms is like no other on the New York stage.
Chushingura — 47 Ronin
At ART/New York in Manhattan until November 6th. amateurasuza.orgPerformance time: 2 hours.