Play named "Kesho"

"Stand if you can crawl
Walk if you can stand"
Even thus harshly reared/trained at tender age
His love grew to glimpse 'Mom', after life-separation

Komatsuza, a theatrical troupe specializing in works by playwright Hisashi Inoue, is putting on a series of his plays this year in a project called 'Memorial 10', celebrating his life works. Among them I found Inoue's signature play "Kesho" or "Make-up", a one woman show, once successfully acted by Misako Watanabe. Originally it started as a single act of 45 minutes. Then a second act of equal length was added by the witty playwright, inducing Misako to confess, "can I endure a 90-minute ordeal?"

I represented my employer in helping Misako Watanabe find theaters for her performances in Southern California in 1987. The request came a few months before her arrival, but I found it a terribly difficult task to find an open local theater where shows are usually booked a year or more in advance. On my first try, I could not find any San Diego theater available. I used friendly cultural connections to see if rigid rules could be bent. I had to meet theatrical managers or representatives in person. The language barrier was an issue as well. Throughout the play, Misako speaks close to 30,000 words in crude Japanese dialect quite rapidly. Even with English caption being shown, it was a challenge. Misako wanted to see the theater beforehand.

She was traveling with Chijinkai Troupe headed by Producer Koichi Kimura. At last, I was able to secure two theaters. One was the then Gas Lamp Theater, now reborn as the modern Lyceum at Horton Plaza. The Gas Lamp was an old, small theater with 100 seats. The other was the Carlsbad City Community Theater that had a few hundred seats. I believe she performed two nights in Carlsbad.

I read she fondly reminisced at her retirement of her cumulative 648 life performances, including those in France, Canada and US. While in Carlsbad, I took her to San Juan Capistrano for my favorite apple pie and coffee shop I used to frequent during my LAX-SD commute. I was glad she seemed so refreshed herself and enjoyed our casual drive together.

The play by Komatsuza is named Kesho and has two acts. However, there is a BIG change. Act One is performed by a female proprietor and Act 2 by a male proprietor. Good news was that Kesho was playing this weekend in Koga City, Fukuoka, just an hour away from Kitakyushu. The bad news was the tickets were all sold out.

P.S. - I recently found a book on my bookshelf – Misako Watanabe's book, "My Solo Trip, One Woman's Show". She autographed it for me as a memento of her San Diego stay. I saw that her book won the best essay prize in 1987 presented by the Japan Essayist Club.

"Our Town - Manzanar"

Searching Wilder’s “Our Town” on Google, I was led by chance to “Our Town –Manzanar”, a play by Hisashi Inoue (1934-2010), a Japanese playwright. “Our Town” is, I’m sure, a reference to Wilder, as he liked such wordplay. The question is, if Manzanar, the World War II concentration camp in the U.S., had retained all the spontaneous elements called as a town. He must have visited Owens Valley and Los Angeles to get a feel for "his" town. Quoted among the play references are Toyo Miyatake’s photo albums, Manzanar Diaries of Karl Yoneda (1906-1999), etc. The play was published in 1993, about the time I decided to leave California. I didn’t know that he wrote about Manzanar until very recently. It was January this year that I traveled to Tokyo to see Wilder’s “Our Town” played by the reading circle I once belonged to. I found that the Zushi City Civic Theatrical Group called “Nanja-Monja” had just performed “Our Town – Manzanar” in December as their 25th Anniversary event and their tribute to the author who passed away in April 2010. (Zushi performed the same play in 1996 on their 10th Anniversary). I could have hastened to Zushi, near Shizuoka had I known. I also wanted to read the book, but it was unavailable even as a used book.

Inoue was generally known as a slow writer. When we see the list of his works and a number of literary prizes (over twenty something), I acknowledge him as a prolific writer, covering a wide range of subjects, from Shakespeare to Chekhov, mysteries and scientific fiction, with a humorous touch and many twists. Inoue likened himself to a bird - his poems come from the head; plays from the body; novels, both polite and popular literature from two wings; and others like biographies, etc. from the tail.

The first Inoue play I saw was fascinating: Misako Watanabe’s “Kesho” (Makeup), which I volunteered to help promote in Southern California. A 50-minute show, wherein, an actress preparing her makeup and costume, keeps talking to her unexpected visitor and troupe members (to the audience), until she is ready to perform a play within the play. Could this visitor be her son she deserted years ago? The drama comes from the heightened emotions of the actress and likewise, the audience. English subtitles were supplied for the audience.

Upon my return to Japan, I read his “Face of Jizo” (translation by Roger Pulvers, literally “Life with my Father”). The “Face of Jizo” dealt with a female survivor of the Hiroshima Bomb. She is reaching marriageable age, and the dialog between father and daughter was all in Hiroshima local dialect, somewhat hard to decipher. Inoue was born in Yamagata, northern Japan and he was an expert in Tohoku dialects, but not Hiroshima dialect. Maybe he spent a lot of time in figuring out the Hiroshima dialect. The English translation is much easier to read.

Five girls appear in "Our Town – Manzanar". They are Sofia Okazaki, an LA Japanese Newspaper staff; Otome Amatsu, a Japanese immigrant from a farm village and “Naniwabushi” (3-string shamisen accompanied ballad) reciter; Sachiko Saito, a stage magician; Lilian Takeuchi, a singer; and Joyce Tachibana, an actress. These five girls were instructed by the Manzanar camp superintendent to perform a reading drama “Our Town, Manzanar”. The reading script was said to be compiled by a Relocation Center Intelligence Officer, but it was later disclosed that it was written by Sachiko Saito. While they practiced reading, girls were split into two groups, pro-American and pro-Japanese. Sachiko stayed aloof, joining neither. Sachiko admitted that she was a Chinese American sent from the State Department. They went through the feminine slanders and accusations, but settled down amicably to pursue the essence of being human, regardless of race or color.

The play starts as the curtain rises:

Sofia: Where the Sierra Nevada Mountains range in Eastern California

Otome: Where Mt. Whitney soars

All in Chrous; Manzanar! Manzanar!

Joyce: Our town, our plaza!



Note: Jizo is a guardian deity of children