GAIJIN at Metanoia Theatre - Review

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Posted 2016-07-09 by Mistress of Culture Vultures ⇒ follow

Wed 06 Jul 2016 - Sat 16 Jul 2016

This week I saw Gaijin written and directed by Martin Rice and produced by Gohan Productions on now at the Mechanics Institute Brunswick until 16 July 2016. Book tickets here

[IMAGE="http://www.weekendnotes.com/im/008/05/gaijin-japanese-kabuki-theatre-daruma-aikido-marti.jpg" width="662" link="http://www.weekendnotes.com/im/008/05/gaijin-japanese-kabuki-theatre-daruma-aikido-marti1.jpg" align="CENTER" thumb="http://www.weekendnotes.com/im/008/05/gaijin-japanese-kabuki-theatre-daruma-aikido-marti2.jpg" border="1" caption="Adam (Sean Paisley-Collins) and Taro (Peter Noic) photo by David Lieu
Rice wrote Gaijin after spending time in Japan and exploring Japanese Kabuki Theatre and its links with Aikido. The play explores the traditional beliefs in Japanese society and the importance of preserving a 'pure' culture, undisrupted by interracial relationships and multiculturalism. Rice draws on ancient Japanese culture, Zen philosophy, spiritual and mythological beliefs to examine power and culture.

The story of Gaijin begins with Adam (Sean Paisley-Collins) an Australian who travels to Tokyo Japan to train as a black belt in the martial art of Aikido . Adam meets Taro (Peter Noic) who is a fellow black belt student at the Aikido dojo, who becomes his mentor and friend.

Adam takes up residence in a one room apartment, rented to him by Takahashi (Grace Pyone) who warns him about the neighbourhood and not to behave in any way that might offend the other Japanese residents. Little does Adam know that Takahashi has planted a cursed Daruma doll in his apartment giving him horrific nightmares and sleepless' nights.

The Sweeper (David Lieu) forewarns the audience of further trouble through his proverbs and riddles. Meanwhile Takahashi and Daruma (Wahyu Kapa) plot to seek revenge against Kancho (Keam-Mar Lai) the Sensei of the Aikido dojo for past indiscretions.

Takahashi visits Adam to advise him that the neighbours complained about his loud screams, and he will have to find another place to live if he cannot control them.

Meanwhile we meet Hiroko (Bec Varvaruc) - an Australian girl living in a Japanese halfway house under the surveillance of Daruma who confines her with physical and psychological torture. Takahashi demands that Daruma keep Hiroko away from Adam, as she can speak English and Japanese, and will disrupt their plans for revenge.

Rice wrote Gaijin after spending time in Japan and exploring Japanese Kabuki Theatre and its links with Aikido. The play explores the traditional beliefs in Japanese society and the importance of preserving a 'pure' culture, undisrupted by interracial relationships and multiculturalism. Rice draws on ancient Japanese culture, Zen philosophy, spiritual and mythological beliefs to examine power and culture.

Rich cleverly aligns Hiroko's character with traditional Japanese Kabuki Theatre where women are not allowed to participate and female roles are played by men. Despite being able to understand and converse in Japanese fluently, Hiroko has lower status in Japanese society than a Japanese woman, as she lives in a halfway house, is a 'Gaijin' and can only make a living through selling tissues on the streets and speaking English with Japanese men in bars.

Through Gaijin Rice explores the idea of 'ethnic' superiority and the lengths that some societies will take to preserve their traditional ideals of a 'pure culture'. The word 'Gaijin' in Japanese means 'outsider' or 'foreigner' and is typically used to identify Westerners, or 'people with round eyes'. This play has three 'Gaijin' – Adam, Taro born in Japan, but grew up in Brazil and Hiroko who save Kancho's Aikido dojo and restore world order.

This is a great 'world premiere' production for many reasons; the setting, the costumes and the soundscape capture the atmosphere of ancient Japan. But most importantly is that Gaijin allows the audience to think about the evolution of culture, contemporary issues of prejudice and racism through the power of theatre; a more participatory and cathartic experience than circular television debates.

So leave your couch, and come out to Brunswick Mechanics Theatre, see Gaijin, explore culture, and what it means to you and the future of Australian society.