★★★

“an authentic taste of Japanese theatre and art that Hoaglund’s translation respects”

At first there is silence. A slowly revolving set, plain white but daubed with an insect caught in a web of vivid brush strokes. The characters will gradually get lured into the web too over the next hour and a half. Many metaphors too; enough of them to feed the hungriest black widow. Lanterns hover above, vibrating like moths around a flame, or like the early tremors of an impending earthquake. Another metaphor? Who really knows? Takuya Kaneshima’s play, “Tattooer”, is inscrutable enough to withhold the answers, but open enough to leave us hanging on in the vain hope that we might find them.

Based on, or rather inspired by, the short story – ‘Shisei’ – by renowned Japanese author Jun’ichirō Tanizaki, it centres on Seikichi (Leo Ashizawa), a tattoo artist of high repute whose longtime wish is to ‘carve his soul’ into the skin of a beautiful woman. We never really understand his motives; whether it is merely to create a masterpiece or whether there is something more ominous going on. Seikichi relishes the pain of the tattoo too much. There are explicit undertones of sado-masochism, and there is something sinister and lecherous about him. Coercive even. Far from erotic, it renders Seikichi a wholeheartedly unlikeable character.

Before we meet him, we are introduced to the tattooer’s muse (is ‘tattooee’ a word?). She is Kazuyo, initially frightened but her compliance roots her to her fate. We are plunged into further obscurity by the fact that Kazuyo is split into two characters. Mao Aono is ‘Kazuyo A’ while Aki Nakagawa is ‘Kazuyo B’. The pair give wonderfully restrained and haunting performances. Their movements are sculptured, like ivory netsukes that slot into each other’s bodies and personalities. But like the play itself, our minds are filled with questions that never find their answers. Linda Hoaglund’s translation is as sparse as the original text’s intention, leaving us to rely on the almost mime-like spectacle – at times beautiful, at other times grotesque. Are they two sides of the same woman, are they sisters? Are they body and soul separated? Does Aono represent the pre-tattoo Kazuyo while Nakagawa depicts the aftermath? Are they representations of death and life?

Seikichi drugs Kazuyo A into submission. Kazuyo B wakes up transformed. Nakagawa deftly demonstrates a triumphant cruelty as the roles are reversed and the tattooer seems now to be the victim. But this is where our understanding becomes buried under the weight of allegory. Seikichi blinds himself. A twisted moment but gripping, courtesy of Rob Halliday’s lighting and Hogara Kawai’s direction. Black blood splatters through a crimson haze.

It is a short piece, and we are invited to stay in the auditorium at interval to watch the ink-brush painter Gaku Azuma paint the back of a newly arrived male model. By the second act he has created a work of art that covers the entire playing space (at the end of the run these should be put up for auction). The newcomer is Nozomi de Lencquesaing, an Englishman who has crossed the oceans to find the ‘legend’ that is Seikichi. A touch superfluous, it nevertheless brings the differing cultures closer together. But even without it, the evening is an authentic taste of Japanese theatre and art that Hoaglund’s translation respects. It may be an acquired taste for many, but it is sharp and refreshing. And mystifying. Kazuyo asks of the now blind tattooer; “Am I in the world I see, or the world you see?” We, too, are never entirely sure whose world we are seeing here. Yet it is an intriguing one. Picturesque and alluring, but too much of an enigma that never really gets under the skin.

WHAT WE TALK ABOUT WHEN WE TALK ABOUT ANNE FRANK at the Marylebone Theatre

★★★★

“this drama is pure, clean, rich with luxuries, well-engineered and superbly constructed”

In this visceral dissection of modern Judaism, what greets us first is designer Anna Fleischle’s super chic compact kitchen island: clean lines, cream with marble tops.

Plenty of space also to host that massive elephant in the room. But, in keeping with the metaphor, we’ll ignore that till later.

First, we’re expecting a dinner party, some light bantz, kosher nibbles, and plenty of nostalgia as two former best friends Debbie (Caroline Catz) and Shoshana (Dorothea Myer-Bennett) – both excellent – reunite after an uneasy separation. Both are burdened with regrets and simmering resentments.

Debbie’s husband and reluctant co-host Phil (Joshua Malina) is not happy. Debbie has an equivocal relationship with her Jewishness and he fears orthodox Shoshana will lure his wife away from her liberal life in Florida.

Shoshana and Yerucham (unexpected scene stealer Simon Yadoo) live in straitened circumstances in Jerusalem with eight – count ’em – eight children, working for God and the Jewish state. One couple has everything, the other couple feels superior.

At the beginning, on some point of etiquette, Shoshana says, “Your house, your rules. We don’t judge.”

And so follows two hours of brutal, hilarious, heart-rending judging, which goes both ways and escalates. Boy, does it escalate.

The play is based on Nathan Englander’s 2012 New Yorker article and the title refers to a game of trust – who would you ask to hide you away should the Nazis come?

The ridiculously talented Patrick Marber came in on an adaptation and the production carries many of his hallmarks, notably the humour, which is quippy and clever. Every cast member – especially Aaron Sorkin favourite Malina – has great comic sensibilities and they land the punchlines every time.

You’re never more than five minutes away from a doozy. Referring to his wife’s self-lacerating fascination with Jewish suffering, Phil calls the kitchen “a holocaust-themed food court”.

And so to the elephant. As director Marber and Englander were working on the adaptation, October 7 happened, the Hamas atrocity provoking Israel’s scorched earth reaction.

In response, Marber and Englander set up a couple of well-drilled, well-balanced examinations, the Floridians horrified by the slaughter, the Israelis talking about their right to exist.

It is a necessary addition, but uneasy. Throughout the play, the two couples mine their own – often moving – experiences to make their arguments, so a set piece debate about the rights and wrongs of a Middle East war arrives like a gatecrasher.

To introduce more division, we have Debbie and Phil’s slouchy, cynical son Trevor – a sharp cameo by Gabriel Howell. Something of a stoner and activist, his challenging of convention is so great he breaks the fourth wall to keep us in the loop, at one point urging the foursome to see if they can’t get through the next scene without fighting.

His point is perhaps the most telling. While the secular Jews and the Hasidic couple are taking lumps out of each other, indulging in the vanity of small differences, the world is burning. His generation is doomed while the adults in the room do nothing.

“We pray,” says pompous Yerucham, as a counter punch.

Like the kitchen, this drama is pure, clean, rich with luxuries, well-engineered and superbly constructed. Four heavyweights are on good form and take on a difficult theme with deft and precision. Also, did I mention, very, very funny.

Tag Archives: Mark Senior

TATTOOER

★★★

Charing Cross Theatre

TATTOOER at the Charing Cross Theatre

★★★

“an authentic taste of Japanese theatre and art that Hoaglund’s translation respects”

TATTOOER at the Charing Cross Theatre

Reviewed on 17th October 2024

by Jonathan Evans

Photography by Mark Senior

Previously reviewed at this venue:

ONE SMALL STEP | ★★ | October 2024

MARIE CURIE | ★★★ | June 2024

BRONCO BILLY – THE MUSICAL | ★★★ | January 2024

SLEEPING BEAUTY TAKES A PRICK! | ★★★★ | November 2023

REBECCA | ★★★★ | September 2023

GEORGE TAKEI’S ALLEGIANCE | ★★★★ | January 2023

FROM HERE TO ETERNITY | ★★★★ | November 2022

THE MILK TRAIN DOESN’T STOP HERE ANYMORE | ★★★ | October 2022

RIDE | ★★★★★ | August 2022

VANYA AND SONIA AND MASHA AND SPIKE | ★★★ | November 2021

TATTOOER

TATTOOER

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WHAT WE TALK ABOUT WHEN WE TALK ABOUT ANNE FRANK

★★★★

Marylebone Theatre

WHAT WE TALK ABOUT WHEN WE TALK ABOUT ANNE FRANK at the Marylebone Theatre

★★★★

“this drama is pure, clean, rich with luxuries, well-engineered and superbly constructed”