[Review] iSAMU @ KAAT, Kanagawa

Hello my lovelies,

It has been a while since I was ever so satisfied after stepping out of a theatre or a cinema. I have yet to have the satisfaction of watching a movie or a play that can make my heart bloom as my lips curl into a smile unwillingly.

This first review will be based on the show in KAAT, which was the final show of the cycle in KAAT. With a very famous lead I was expecting very much from this show in the beginning but not only I was surprised but I was amazed.

iSAMU working poster (Pic Cred: PARCO)

    Creations by a man are sculpted by various women in his life. First by his mother. Then is refined by his wife. Only later to be appreciated by a lady. iSAMU stage play is a play that comprises all three elements to show the life work of Mr Noguchi and also the appreciation of his art.
    The play was broken into three different segments that are interlinked with one common theme. “Zero”.The first segment of the play was set in the 1910s where Mr Noguchi’s life was just beginning and being nurtured by his mother. His life began with a shaky start when his father left him and his mother for another woman. Because of his mixed parentage, his appearance is a little different from the other kids in his school, which results him feeling alienated by those in his school. It was then his mother thought him the magic of the number ‘Zero’.
    The middle or the second play the story about Mr Noguchi’s life while he was in his late 40s to early 50s. Although his art form was not accepted my many of those in his era, but he was very determined and very hard working to strife for his family. Thought while working hard, he tends to forget the most important thing in his life. Family. Although he succeeded in making a name for himself as a post-world war 2 modern artists, but he lost the one thing that was closest to him. His wife. Although with all the achievement that he achieves, he felt the particular emptiness in his life. His heart felt hollow. A new meaning to the figure ‘Zero’ in his life taught by his wife.
    The third scene does not involve Mr Noguchi directly but his work. A modern day, post 9/11 traumatized New Yorker who lost her father to the attack trying to cope with her life. Although she is a well to do women in her late 30s (39 to be exact), she still felt the gap, the hole, the emptiness that once was filled by her father. Mr Noguchi’s art somehow made sense to her and gave her the strength and will to move on with her life. The wok that got through to her was “The Red Cube”. The cube with the hole in the middle.

I cannot think of another play that made me this satisfied in years. I have been to various musicals and adaptations but nothing that could compare to this play. Kudos to the director and especially to the effect engineer. The projection was spot on and the images were just flawless. I was literally left speechless as the play ended.  Something I could not say to most Japanese plays especially and many other plays that I have been to as well.

The first thing that interests me about this play was the actor. I was not a huge fan of Mr Kubozuka, but I know he is a good screen actor. I loved how he possesses his characters in both Ikebukuro West Gate Park and Strawberry on a Short Cake. Although being a good on screen actor does not mean that he was a good stage actor. His skills exceeded my expectations and were more than pleased by his performance. His expression was flawless, his character embodiment and his projection was just heavenly. He has a nice loud voice and even when he was speaking with a low tone, his voice was crisp and clear.

Beside Mr Kubozuka, I had no idea who the other main supporting casts was and I was surprised when a friend of mine (whom I made through a friend and is a very funny comedian as well) told me that he was going to have a speaking role in a Japanese play. Though at first I was expecting very few lines from him but he was given one of the main supporting roles. Mr Werley (who is also a part of a comedy group Pirates of Tokyo Bay) is a fine actor and has great talents as well. Though one little thing that bothers me was his unintentional slurring with certain words starting with ‘s’ and some ‘th’ words. Besides that, I have no complains at all. Also that was the very first time I have ever heard him speaking in long Japanese sentences and his pronunciation was actually very clear.

The third male supporting lead is a tiny boy with an overwhelming energy and very very charismatic. This young star has it all. He is very coordinated, graceful and enthusiastic. Unlike many child stars, he is very articulate and does not shout unnecessarily. The lighting was a little dim in certain parts but this little kid sure lit up the stage with his presence.

The women leads were not any less outstanding as well. I have nothing at all to pick on them except for that their performance not only is powerfully done and they have a very intense characterization. Ms Dreyfus especially, her low whisper was very articulate and clear as if she was not even whispering.

Another thing that caught my attention was the director’s precision on the details of the art projection and the minimal usage of props made the show more amazing. The direction was just amazing that the projected silhouette and the coordination of the actor was very synchronized that it almost seemed like they were shadow acting instead of the image being projected on the white props.

The interactions between the actors were also amazing and their chemistry really shone through while performing.  The whole cast was really amazing and the direction was no less incredible.

All in all, this play deserved a standing ovation. As well as a super duper double thumbs up for both the actors as well as the director. This play deserves a ten out of ten (10/10) stars for the amazingness (In fact, this show actually deserve more, maybe 15/10 for the amazingness of the actors chemistry and the technical staffs.) I am looking forward to see more of these actors and director’s work soon.

Love and kisses,

GWRL