Guards! Guards!
Tokyo International Players
26 September 2008
This was a play by Terry Prachett and was reminiscent of Monty Python which I readily admit most of the time I didn't "get". The British allusions were always too obscure, as they were in this piece. There was much to smile about, but there was much that seemed like inside jokes, which was ultimately more annoying than entertaining.
The piece is mythical involving dragon's and secret societies, bureaucracies which are corrupt and unable to deal with a crisis which some of them have caused - leaving the fix to the wandering hero. Pretty basic stuff.
The outstanding character was a former human now orangutan played by Jonah Hagans. Acting only with his eyes and hands and arms and body he provided the entertainment for the evening. Likewise Ron Scott proved once again to be a gifted comic actor.
On the other hand, a Japanese cast member had such poor diction and overacted so shamelessly that I was extremely distracted every time she was on the stage, What was the director thinking?
Other notable performances were by Damian Rumph playing the constantly upbeat and achingly honest hero and Cyrus Sethna as an amusing guard.
I give credit to TIP for continuing to provide theater in English in Tokyo as a completely volunteer group. As a consequence sometimes they succeed and sometimes they fall short. Most of this evening was in the latter category.
Tan Dun
NHK Symphony Orchestra
Conducted by Tan Dun
25 September 2008
Suntory Hall - Tokyo
I had a seat in the fourth row at the extreme right and question why it was considered a top-price ticket. I could see only the string players; but having said that, the sound was fine and balanced, and I could see the conductor very well.
The program began with Tan Dun conducting the Bartok "Dance Suite" which was spiky and tart but, ultimately, inconsequential. The audience was there to hear Tan Dun's music, so this opener seemed irrelevant.
The first of Tan Dun's works was "Four Secret Roads of Marco Polo for Orchestra and Twelve Violoncellos". He prefaced the work with a few words which helped explain the work's genesis - written for the 12 cellists of the Berlin Philharmonic - and content - expect improvisations, Silk Road references in the music, and the animals of the Chinese zodiac. What followed were four movements which were captivating - often for their wonderfully powerful rhythms enhanced by a large percussion section as well as slaps on the string instruments by the players and shouts from the orchestra members and cello soloists. My first contact with Tan Dun's music was his symphony for the reunification of Hong Kong with China, and I enjoyed the same sort of powerful dance-like rhythms found in that piece reiterated here. The 12 cellists each got an improvisational moment, and these were very engaging although I was not able to associate any with a particular zodiacal sign. Maybe that's what the players were shouting. In any event, I thoroughly enjoyed the piece and enjoyed, as well, the composer's spirited conducting. He was often smiling with delight at the playing, which felt good to me.
After the intermission I moved to a better seat - center orchestra - to hear his piano concerto "The Fire" with soloist Yu Kosuge. He explained that the piece was written for Lang Lang and the NY Philharmonic and had as its subtext martial arts, so expect karate chops to the piano. In fact, the work was disappointingly banal until the ending. The piano part was not at all flashy in the Rachmaninoff vein and the music sounded, frankly, like film music. The piano was often covered completely by the orchestra, and it wasn't until the ending that there were some fireworks.
I'd certainly hear the Marco Polo piece again, but I'd skip the piano concerto.
