| . | 11/18/2008
Shogun Macbeth
By: Victor Gluck
Kaipo Schwab as Macbeth and Rosanne Ma as Fujin Macbeth
(Photo credit: Corky Lee)
Shakespeare’s tragedies of ambition, greed and jealousy are universal. This is proved by the Pan Asian Repertory Theatre’s production of Shogun Macbeth, John R. Briggs’ adaptation which transfers Shakespeare’s Scottish tragedy to the feudal military dictatorship of 12th century Japan, during the Kamakura Period, a time of warring clans not unlike the original Scottish ones. Presented as part of Pan Asian Rep’s Masterpiece Cycle, this is the first revival of the play in New York since the world premiere in 1986. Ernest Abuba’s production is an exciting reinterpretation, though at times the acting is unsubtle.
The Briggs adaptation substitutes Japanese names, titles and places for the original Scottish ones. It makes uses of the Japanese art forms of Noh and Kyogen drama. At times, some of the lines are spoken in Japanese. Japanese music is played between the scenes. A Biwa Hoshi, an itinerant blind priest, played by Tom Matsusaka, makes periodic appearances to recite teachings from Buddhist philosophy.
The three witches are here Yojos, creatures from Japanese folklore with spiritual and supernatural powers. Dressed in white robes and with long hair in red, black or white respectively and stylized make-up, Shigeko Suga, Claro Austria, and Emi F. Jones make impressive spirits with their stylized movement, incantations and sound effects. In other costumes, they appear later in the play as the Ninja warriors who commit Macbeth’s murders and finally as his servants in the final scenes.
The authentic Japanese movement by Sachiyo Ito, awarded the 2008 Japan Foreign Minister’s Commendation, and the exciting fight choreography by Michael G. Chin characterize the production. Shakespeare’s tale of vaunting ambition is played out on a unit set dominated by an enormous blue-green Buddha and a Japanese arch designed by Charlie Corcoran. Victor En Yu Tan’s lighting is effective in advancing the mood of this drama which often verges on a ghost story. The colorful and exotic costumes designed by Carol A. Pelletier are always eye-filling.
Emi F. Jones, Shigeko Suga and Claro Austria as the three Yojos
(Photo credit: Corky Lee)
Briggs’ adaptation is extremely faithful to Shakespeare’s original plot with some combining of characters, giving the play a tighter structure. Macbeth, a warrior for Shogun Duncan, is told by three Yojos that he is destined to become Shogun, while his fellow general Banquo is told that he will be the father of Shoguns. When Shogun Duncan arrives to visit Macbeth’s castle, his ambitious wife Fujin Macbeth convinces him to murder the shogun. When their plot works and the Shogun’s sons Malcolm and Donalbain flee in separate directions, Macbeth is declared the new Shogun. When Macbeth has his rival Banquo murdered, MacDuff becomes suspicious and joins Malcolm in exile. The new forces head to Macbeth’s castle to wrest power from the tyrant.
Rosanne Ma is commanding as Fujin Macbeth in a nuanced performance that is seductive, ambitious, and cunning. In the title role, Kaipo Schwab is rather bland as the troubled warrior who is a man of action, putty in the hands of his wife. Keoni Scott as both Shogun Duncan and Old Siward speaks with great authority. Marcus Ho as Malcolm and E. Calvin Ahn as MacDuff give able support. As Fujin MacDuff, Sacha Iskra is a strong personality in a role expanded from Shakespeare’s original. Ron Nakahara as Angus is amusing with the bawdy lines usually assigned to the Porter. The rest of the cast is best at the impressive sword play for the samurai warriors.
The Pan Asian Repertory Theatre’s revival of Shogun Macbeth is an exciting take on Shakespeare’s original. This tragedy of ambition and power retains its interest and credibility reset in feudal Japan. The Japanese trappings make the old play seem new.
Shogun Macbeth (through December 7)
Pan Asian Repertory Theatre at the Julia Miles Theater, 424 W. 55th Street
212-239-6200 or http://www.telecharge.com
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