Drum of the waves of Horikawa
Christine Lockerby
Issue date: 11/2/07 Section: Theater
Drum of the Waves of Horikawa
HERE Arts Center
145 Sixth Ave., $15 w/student ID
www.twoheadedcalf.org
Runs through Nov. 17
Theatergoers aren't usually given earplugs with their programs. But for a show as wild and energetic as "Drum of the Waves of Horikawa," it's a smart precaution. This new production from the Theater of the Two-Headed Calf blends traditional Kabuki with '70s punk rock to create an experience that is entertaining and unforgettable - even if it is strange and confusing at times.
Based on the 18th-century classic Chikamatsu play, "Drum of the Waves of Horikawa" is part of "Turning Japanese," a citywide celebration of the 100th anniversary of the Japan Society. It tells the story of the wife of a samurai who is unfaithful during her husband's absence and must pay for her sins. The complicated plot deals with love, lies, revenge and honor. While it attempts to remain faithful to the original, some things are definitely changed. Phonetically raunchy adaptations of character names like "Bunrocker," "Getiton" and "Esogay Yougayman," for instance, help modern-day American audiences appreciate the play's humor.
Two drum kits, a keyboard and an electric bass flank the tiny 12-foot square acting space. Director Brooke O'Hara uses punk rock to highlight the aggressive, anti-establishment themes of Kabuki theater. It is a successful merging, as both share a system of elaborate gestures and strong expressions of emotion. Before the show and during the breaks between the five "episodes" of the play, a kimono-clad DJ plays punk classics. Music is also key during the performance. The musicians sing and are as much a part of the action as the actors, who also break out into song as they imitate legendary punk performers.
The set and costumes blend several influences to create a look of Japanese punk. The tiny performance space and fairly simple design are a good backdrop for the over-the-top characters and actions performed on it. The actors' energy and commitment to the show is exceptional, especially considering the tiny controlled movements they must perform along with exaggerated gestures and facial expressions.
The humor and intensity is great but sometimes the show is difficult to understand. At times one wonders what the point is. Some elements seem to appear solely for shock value, and it even gets downright bizarre. Still, as one of the characters in the play puts it, "People always like what they don't know anything about." There are times when this play is hilarious and yet no one could say why. In the end, however, the confusion won't stop audiences from enjoying this fun and unusual show.
Christine Lockerby is a staff writer. E-mail her at theater@nyunews.com.
HERE Arts Center
145 Sixth Ave., $15 w/student ID
www.twoheadedcalf.org
Runs through Nov. 17
Theatergoers aren't usually given earplugs with their programs. But for a show as wild and energetic as "Drum of the Waves of Horikawa," it's a smart precaution. This new production from the Theater of the Two-Headed Calf blends traditional Kabuki with '70s punk rock to create an experience that is entertaining and unforgettable - even if it is strange and confusing at times.
Based on the 18th-century classic Chikamatsu play, "Drum of the Waves of Horikawa" is part of "Turning Japanese," a citywide celebration of the 100th anniversary of the Japan Society. It tells the story of the wife of a samurai who is unfaithful during her husband's absence and must pay for her sins. The complicated plot deals with love, lies, revenge and honor. While it attempts to remain faithful to the original, some things are definitely changed. Phonetically raunchy adaptations of character names like "Bunrocker," "Getiton" and "Esogay Yougayman," for instance, help modern-day American audiences appreciate the play's humor.
Two drum kits, a keyboard and an electric bass flank the tiny 12-foot square acting space. Director Brooke O'Hara uses punk rock to highlight the aggressive, anti-establishment themes of Kabuki theater. It is a successful merging, as both share a system of elaborate gestures and strong expressions of emotion. Before the show and during the breaks between the five "episodes" of the play, a kimono-clad DJ plays punk classics. Music is also key during the performance. The musicians sing and are as much a part of the action as the actors, who also break out into song as they imitate legendary punk performers.
The set and costumes blend several influences to create a look of Japanese punk. The tiny performance space and fairly simple design are a good backdrop for the over-the-top characters and actions performed on it. The actors' energy and commitment to the show is exceptional, especially considering the tiny controlled movements they must perform along with exaggerated gestures and facial expressions.
The humor and intensity is great but sometimes the show is difficult to understand. At times one wonders what the point is. Some elements seem to appear solely for shock value, and it even gets downright bizarre. Still, as one of the characters in the play puts it, "People always like what they don't know anything about." There are times when this play is hilarious and yet no one could say why. In the end, however, the confusion won't stop audiences from enjoying this fun and unusual show.
Christine Lockerby is a staff writer. E-mail her at theater@nyunews.com.
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