“Burnt Lemon have shone a light on another silenced woman’s story, leaving the audience educated and thoroughly entertained”
Slick and inventive, Burnt Lemon’s new musical focuses on one American woman’s struggle through war and xenophobia to get back home. Based on the story of Iva Toguri vs the United States, we meet Iva (Maya Britto) in her formative years at UCLA during the 1940s. She is an American woman of Japanese descent “Born with American dreams running through (her) veins”. At the request of her mother (Yuki Sutton) she goes to Japan to care for a sick aunt. Within a few weeks. the events at Pearl Harbour instigate the US joining World War Two leaving Iva stranded, unable to go back to America and without a family.
She is pressurised by the Japanese government to renounce her American citizenship and broadcast anti-American propaganda at Radio Tokyo. In rebellion, she refuses to give up her American status and becomes a double agent passing disguised messages to the American allies through her supposedly anti-American indoctrination. When Iva is later brought to trial by the United States accused of treason, the injustice of her tribulation sits heavy in the air.
The plot is very convoluted but the writing partnership of Maryhee Yoon and Cara Baldwin has been concise and eloquent in exhibiting the facts. Bolstered by composer William Patrick Harrison’s pop-cum-rap music which resonates with some jaw dropping vocals throughout, in particularly from Lucy Park and Yuki Sutton. The ensemble multi-rolling as many different characters is impressively smooth, as is their choreography and physical storytelling.
Luke W Robson’s set design is minimalist, and versatile. With the wooden Radio Tokyo apparatus at the heart of the set, later used as the judge’s bench when Iva arrives in the American courtroom.
Tokyo Rose, from this all female powerhouse, is truly astonishing. Burnt Lemon have shone a light on another silenced woman’s story, leaving the audience educated and thoroughly entertained.
Reviewed by Liz Davis
Tokyo Rose
Underbelly Cowgate until 25th August as part of Edinburgh Festival Fringe 2019
“wonderfully throws a humorous and uncomfortable mirror up to society’s failure to engender a sense of responsibility”
If you’ve never been to the Hope Theatre, I recommend you pay it a visit. Based in Islington and part of the pub-theatre tradition, it has a lovely, intimate theatre space; drawing the audience right into the action of any production. The staff, at the Hope are also incredibly friendly which only adds to the enjoyable ambience of the venue.
Written by Ollie George Clark, this play set about tackling the culture of ‘apology’ – or the failure to do it earnestly – in a very articulate and multifaceted way. It begins in a publicist’s office with staff frantically fire-fighting the damage caused by the colourful language of one their clients. We watch as their discussion of how to cultivate a heart-felt apology descends into sinister realms.
Many aspects of this production stood out – from the fine detail of the props such as the incredibly realistic newspaper articles and décor (Caitlin Abbott) to the female led cast, with Maisie Preston’s performance of Danica as a deeply insecure, happy go lucky intern, being of particular joy to watch. These roles are meaty and complex; with each character highlighting the different dynamics women have with each other and how they have to navigate that with the outside world – in this instance, the acting industry. The idea of race was also highlighted both within the play and aesthetically. It was really gratifying to see actress Natasha Patel (who plays Ruchi) on stage performing with savvy assuredness, Patel’s presence reflected both the importance of inclusivity of casting whilst simultaneously illuminating the lack of it within the industry.
Cuttings touches upon a very ripe and tender nerve about the way social media influences our everyday communication, and not always for the better. How YouTube beefs have now become newsworthy topics, how popularity trumps talent, the exploitative monetising of mental health and the unconventional rise of the insta-celeb which threatens the decorum of the well-oiled theatrical establishment.
When the simple act of apologising becomes an act of war; this play wonderfully throws a humorous and uncomfortable mirror up to society’s failure to engender a sense of responsibility.
