Special to the Alexandria Times
Jordan Wright
November 9, 2010
The actors in the first photo are, left to right, Diane Linton Sams, James McDaniel and David James. Photo by Ari McSherry.
My memories of the Academy Award-winning Kurosawa epic film of the same name, gave me pause that this could be pulled off as a one-act play on a stage whose size looked more like an afterthought. What could the theatregoer divine from a stark black backdrop ornamented by a smattering of floor to ceiling stalks of bamboo? I meant not to prejudge but to pack a suitcase full of curiosity.
In this pared down production James McDaniel, David James and Diane Linton Sams seamlessly portray nine characters. McDaniels as priest, deputy, husband and mother; James as woodcutter and bandit; and Sams as wigmaker, wife and shaman weave an intricate tale full of truths, half-truths and outright lies in this powerful story reminiscent of Japanese Noh theatre.
In the ancient city of Kyoto a trial is underway for the murder of a Samurai warrior and the rape of his wife. Suspicion hangs over the bandit, the Samurai and his wife in this elegant and stark thriller. Motives are debated and self-serving explanations are rampant. Events flow backward and forward in time while each character explains their version. Yet there is only one real witness, the bandit. And his version of the events, along with the real or imagined tales from the other participants, is in question.
The wigmaker, priest and woodcutter devise their individual theories on the murder and rape based on their egotistical and self-serving views of life. In “The Films of Akira Kurosawa” by Donald Richie, the great director once said of his film version of Rashomon, “Human beings are unable to be honest with themselves about themselves. They cannot talk about themselves without embellishing.” The sentiment is echoed by the Holy Man, “A man doesn’t look for his soul in a mirror.”
An exchange between the Wigmaker and the Woodcutter informs the audience.
Wigmaker: Which one of these stories do you believe?
The Woodcutter: None makes any sense.
The Wigmaker : Don’t worry about it. It isn’t as if men were reasonable.
The Actors, from left to right, David James, Diane Linton Sams and James McDaniel. Photo by Ari McSherry
This small but tightly acted play is further enhanced by two Hayashi musicians, played by Randy Sena and Jung Weil who sit cross-legged on opposite sides of the stage paralleling the shifting roles with a series of percussive sounds. Sena and Weil use a collection of instruments to dramatic effect, among them a Cuban drum, a gavel, a recorder, a child’s lyre, Japanese wooden clappers and a copper gong as spotlighting and kimono costume changes cue the audience to the changing characters.
Rashomon was adapted for the Broadway stage by husband-and-wife collaborators Faye and Michael Kanin in 1961. Michael was the brother of Garson Kanin and worked with Ring Lardner Jr. After a long career writing screenplays, Faye went on to be president of the Academy for Motion Picture Arts and Sciences. At 93 years young she lives in Baltimore, MD.
Rashomon is a compelling production that explores the mysteries and foibles of human interaction and its subsequent interpretation. Perfectly cast and dramatically directed and costumed by Howard Vincent Kurtz, it is highly recommended.
Weekends through November 21st at The Lab at Convergence, 1801 North Quaker Lane, Alexandria, VA 22302. For tickets and information call 703 838-2880 or visit www.PortCityPlayhouse.com.
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