©Captured and Edited by Miku Hirayama with iPhoto
Written by Momo Akashi and directed by Kevin Cheng, VOICE had its global premiere on July 6 as part of the Time Capsule project at the Chain Theatre in New York City. As the brainchild of producer and artistic director Ai Toyoshima, the Time Capsule project is designed, she says, “to empower our participating artists to become the next generation of creative leaders in the theatrical industry both in New York and Japan.”
A minimalist one-act play with only three actors on an almost-bare stage, VOICE provides a raw and insightful glimpse into human frailty as well as endurance. This is ur-theater at its very best, relying primarily on well-written dialogue unembellished with whizbang special effects or elaborate musical accompaniment. It is a superb pleasure to watch its multicultural trio of actors (Mai Ozeki, Sudip Ulak, and Raymond Xavier) strut and fret their hour on the stage as they convey the sound and fury of their inner turmoil.
The official synopsis of VOICE describes the play as one with “justice” at its theme. In this context, Momo Akashi’s drama is heir to the dramatic legacy of mid-twentieth-century dramatists like Edward Albee, Samuel Beckett, and Tennessee Williams, all of whom were ardent advocates of the “theater of engagement” that sought to challenge conventional mores. The poster for VOICE includes an image of an empty park bench, which brings to mind Edward Albee’s Zoo Story, in which two strangers meet on such a bench to share their existential angst.
©Captured and Edited by Miku Hirayama with iPhoto
And there is plenty of angst to share here. VOICE unfolds in a hospital setting, as a young man named Seth (Raymond Xavier) meets Lina (Mai Ozeki), twentysomethings who are each suffering from life-threatening maladies. Seth has been battling cancer for years, while Lina has recently been wounded by an unknown assailant who brutally slashed her throat. Both are awaiting surgery in a few days from a skilled doctor known as the “God Hand” (Sudip Ulak).
When Seth learns that Lina’s surgery will result in the loss of her vocal chords, he becomes incensed that the doctor is not being honest with her about her prognosis. Together, the two embark on an inner journey that exposes their vulnerability. Both are empathetic souls by nature, and the two characters readily bond in what might be described as a heartwarming,quasi-romantic relationship.
Ultimately, their probing lead them to the harrowing conclusion that the culprit who slashed Lina’s neck was none other than Doctor God Hand himself. The emotional and psychological crisis that accompanies this shocking discovery propels all three of them into a spirited discussion about mortality and morality.
©Captured and Edited by Miku Hirayama with iPhoto
Despite its heavy themes, VOICE is a thoughtful, well-wrought parable that is rescued from gloominess by the deft acting abilities of its characters, all three of whom are authentic in the pursuit of their own truth, even when it involves dealing with painful realities.
Playwright Momo Akashi wrote in her director’s statement: “Even living in a vibrant city like New York, it’s not easy to live true to what we want to do. That’s why I wrote a story about characters who are honest about what they want. It doesn’t mean that following hearts is the greatest thing in life, but I hope that the audience will enjoy meeting characters who are very pure, innocent and true to what they want.”
Along with the other productions in the Time Capsule Project, VOICE is an auspicious beginning in this new creative space that fulfills Ai Tomoshima’s dream of both inspiring and entertaining its audiences.
©Captured and Edited by Miku Hirayama with iPhoto
Rating: A
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