Haruki Murakami’s work is often seen in
international literary circles as the quintessence of contemporary
Japan. This adaptation of his 1995 novel (published in English in 1997)
certainly seems to sit squarely within that field of consciousness.
Murakami’s story, with its Japanese take on magic realism, mixes
precocious schoolgirls and demagogue politicians with a prostitute with
spiritual powers and a motif of entrapment down a well echoing through
the past and present; similarly, this staging blends live action,
bunraku
puppetry and a number of video styles in an aesthetic which constantly
rubs the classical and the modern up against each other.
What
might be surprising is that the production’s creative driver is not
Japanese but American. Filmmaker and former Miramax director of
production Stephen Earnhart approached the project as he had done a
number of his documentary films, by long-term immersion, living for a
year or so in Japan in order to begin to grasp the perspective(s) of
the book and its everyman protagonist Toru Okada. As Toru searches for
his missing cat and his missing wife he encounters a bizarre TV game
show, dream police, a veteran of the war in Manchuria and on all sides
dark forces seemingly under the control of his sinister politico
brother-in-law. Earnhart’s script condensation (with Greg Pearce) of
Murakami’s 600-page novel has the episodic feel of a screen work, but
as director he finds a style of dissolving between scenes with deft use
of lighting and multimedia split focus. Bora Yoon, in a bullpen at the
front of the stalls, provides live music and soundscapes ranging from
synthesizer to tuned bowls and pouring water into and out of a
(tenanted) fishtank. In mood, looks and feel, the production
articulates that collective Japanese sense of being amid an ancient sea
but surfing the breaking Hokusai wave of the future.
A caveat,
however: anyone of more than average height will find two uninterrupted
hours in the constrictive seating of the King’s Theatre to be an
agonising experience. More than one of the walkouts around me were
visibly or audibly due not to dissatisfaction with the presentation but
to overpowering cramps; had I not been on duty, I would have been among
them.
Written for the Financial
Times.