This play started to make much more
emotional and intellectual sense once I began, some time after the
interval, to think of it as “these plays”. It is true that there was a
deep historical relationship between William Adams, an English sailor
(more or less) shipwrecked in Japan in 1600, and Tokugawa Ieyasu, who
shortly thereafter founded the Tokugawa Shogunate which ruled Japan for
the next two and a half centuries. Ieyasu came to trust Adams as an
adviser on relations with European powers, bestowing on him lands and
revenues, the title
hatamoto
and the cognomen Anjin, “pilot”. However (and notwithstanding James
Clavell’s fictional treatment in his novel
Shogun), the two stories seem to
resist being brought together over three sprawling hours with
sufficient tonal coherence. For instance, the scene here in which Adams
remonstrates with unruly visitors from the English East India Company
and that in which Ieyasu muses on his personal integrity whilst
explaining to the last remaining son of a rival dynasty why he must be
executed remain, intractably and in every respect, in radically
different dramatic worlds. Royal Shakespeare Company stalwart Stephen
Boxer and Masachika Ichimura work well in their scenes together as
Adams and Ieyasu, but each feels more at ease with, so to speak, his
own material.
How much of this disjunction may be due to a division of authorial
duties between Mike Poulton and Shoichiro Kawai, I do not know; Poulton
has an honourable record as a translator/adapter of foreign works as
well as an original writer. The entire project was conceived as a
hybrid. Gregory Doran’s production premiered in Tokyo in 2009 under the
aegis of HoriPro, the company which often collaborates with producer
Thelma Holt to bring Yukio Ninagawa to Britain; this final leg of the
production’s existence is another HoriPro/Holt co-production. Although
not an RSC enterprise, the conceptual vision was Shakespearean: to
portray a crucial episode in history (one of the most crucial in
Japan’s national biography) through both an upper tier of political
conflict and also on a human level of contrasting personal impulses.
Unlike Shakespeare, the result here is, in the words of a Lou Reed
song, “like bacon and ice cream”: two disparate ingredients, each
wonderfully appealing but which (
pace
Heston Blumenthal) simply do not go together.
Written for the Financial
Times.