36 Views

written by Naomi Iizuka
directed by John Heimbuch

February 8 – 23, 2008

Red Eye Theater

The curve of a woman’s neck. An ancient manuscript. A longing for what one cannot attain. When an Asian Studies professor and an unscrupulous art dealer discover a rare Japanese pillow book, they think their lives are made. This intricate story of beauty, passion, and desire shows how idealization can blind us to the true nature of things.

Walking Shadow’s production shows off the poetic beauty of Naomi Iizuka’s meditation on artistic authenticity… Walking Shadow Theatre Company has worked out an aesthetic and level of quality that distinguishes it from several other small theater companies. Last weekend, the troupe gave Twin Cities audiences their first glimpse of Naomi Iizuka’s “36 Views.” This follows Walking Shadow premieres of Neil LaBute’s “Fat Pig” and Noah Haidle’s “Mr. Marmalade.”

These three plays represent contemporary, slightly askew off-Broadway work — the stuff that challenges perceptions and illusions in varying degrees of realism.

Iizuka’s work, now playing at Red Eye in Minneapolis, is at first blush a facile mystery involving an artistic forgery. The trap is laid early on, and only the means of the outcome are in question. Walking Shadow’s staging, directed by John Heimbuch, realizes the poetry undergirding Iizuka’s layered piece. Working with generally strong actors and a stylish set by Erinn Huntley — shoji screens being the principal piece — the production is decidedly cool, articulate and conscious of its principles. Lighting designer Jenny DeGolier once again adds dimension, place and mood in her scheme.

-Graydon Royce, Star Tribune

The name of the play and it’s structure comes from the famous Japanese Hokusai (1760-1849) woodblock prints, offering 36 views and shifting perspectives of Mount Fuji. The ukiyo-e style prints inspired Iizuka as a metaphor for contrasts in truth, deception and relationships.

“There is definitely a specific style to the play,” said Sun Mee Chomet, who is featured in the role of Setsuko Hearn. “The elements of kabuki (the shakuhachi flute and Kitsune Roppo stage exits), the on-stage costume changes (assisted by Kurogen style stage hands), the Japanese wooden clappers to emphasize certain points; that may or may not be immediately perceptible on the surface.”

Dr. Setsuko Hearn, an Assistant Professor of East Asian literature, forms a relationship with Darius Wheeler (played by David Coral). Darius, with no formal education, has elevated himself to the status of a renowned international traveler and collector of Asian art antiquities. He also has a knack for creating perfect fakes for unsuspecting buyers.

The two meet by chance at a gallery opening of contemporary Japanese abstract art. Wheeler approaches Hearn, attracted to her beauty. She is attracted to his knowledge and strength of will.

“I think I am attracted to his power,” said Chomet. “He is both successful and ambitious, but the attraction is also based on images that we put on to each other. We realize later in play that we don’t know each other at all. Much of our initial attraction is based on our ideas of one another, rather than true knowledge of who we really are.”

Wheeler later pursues Hearn to authenticate a newly discovered and as yet unknown “pillow-book”, believed to be written nearly 1,000 years ago by a femail poet in Heian era Japan. If authenticated, this discovery would cause quite a stir internationally among historians, the literary and art world and would prove to be a priceless artifact.

The other Asian American cast member, Jeannie Lander, portrays Claire Tsong, who is employed by Wheeler. Tsong’s work of restoring ancient masterpieces or creating flawless fakes, illustrates how people have different perspectives of what is right or wrong, truth or lie and good or bad. Claire brings into question the actions that people take to further their careers or relationships…

“Some people lie to protect a relationship and some tell the truth to protect a relationship,” said Chomet. “Both of them think that they are doing the best thing. Are they doing this out of love or are they using each other?”

Chomet was pleased to discover a part and a play with such importance and interest to herself and the Asian American community. She feels that Naomi Iizuka understands both the complexities of relationships and of race and how they intimately intersect.

She is pleased that the play portrays the world of the contemporary Asian American woman, who in pursuing a career must sometime make sacrifices in personal relationships. “That is a very real struggle that a lot of woman have these days,” she added.

For her character, Chomet reflected on the lives, careers and relationships of friends who are professors, along with poets and writers. The impact of pressures and burdens they carry in the world of academia is tremendous. They must be ambitious to get a not only secure a good position, but they must constantly continue to improve themselves, she said.

“It is one of the most exciting things that I have worked on,” she added. “It is a smart and well written. In rehearsals, the actors asked tons of questions because it is so layered. It leaves the audience with a lot to question, morally and otherwise.”

-Tom LaVenture, Asian American Press