No matter how beautifully presented, an evening of classical and contemporary Noh theatre is never going to appeal to everyone. While the authentic music, elaborate costumes, hand-carved masks and superb attention to detail is fascinating, for most it will remain something to experience rather than enjoy.
First, an extract from the warrior play Kiyotsune is performed on an open stage with wooden pillars at the corners which is set against a backdrop of a pine tree painted on to cedar panels. Written by Noh pioneer Zeami Motokiyo and presented in the centuries-old style, it is like stepping into a live woodcut as warrior Kiyotsune’s spirit appears to his wife. The performers’ movements are in slow motion and highly stylised. They must use the lighting and the angle of their masks to make them show any expression. Two drummers, a flute player and an eight-man chorus provide the music, song and chanting and the effect is trance-like.
After the interval comes Jannette Cheong’s modern and mysterious Noh play, Pagoda. It is based on her first-hand experience and an ancient Chinese legend, and concerns a traveller searching for her dead father’s village who crosses paths with various supernatural beings. Though sung in English, the intonation and tone are kept traditional, as are the slow movements and dance, the music - by Richard Emmert - and the chorus.
Pagoda is a triumph. To have created a new Noh play but retained total authenticity is nothing short of brilliant. It is something that devotees of Noh will savour.
Production information can change over the run of the show.
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