trip (in more ways than one)
Since people don't really read this or take my advice or anything, I figure I can do whatever the hell I want here. Right? Consider this a way for me to get the details straight and have them all in one convenient, accessible place.
That in mind, I'd like to work out my upcoming Grand Religious Tour of Japan, courtesy of a former co-worker with similar interests.
We start with the Ten Commandments in Kita-ibaraki, Ibaraki-ken. That's right. Somewhere in Isohara, Kita-ibaraki (two minutes from the station, no less) there's a stone that is believed to have been the one "on which Moses engraved the Ten Commandments." I don't claim to know anything about the bible or history or magical burning bushes, but I thought we were supposed to pretend that some deity engraved them rather than Moses himself. This stone is reportedly located in a shrine called Koso Kotai Jingu. I need to spend more time figuring out the Japanese to understand. But in English, I've read that the very same shrine is also supposed to carry a copy of the Takeuchi documents (later proved to be fake), which claim that Jesus came to Japan to study at the age of eighteen, returned to his country, escaped crucifixion and moved to Aomori prefecture. A statue that he made from the bones of Mary and Joseph is supposedly still at this shrine. Check out the shrine's website for more pictures of their artifacts.
This story leads us to Juraizuka, the tomb of Jesus, in Shingo Village, Aomori. Metropolis did an article about it a long time ago that should prove helpful in terms of trip-planning (train lines, etc.). According to the legend, Jesus's brother Isukiri was crucified in his place, with Judas as an accomplice to the plot. Jesus then fled to Japan with his brother's ear (don't ask), married, had children and lived to the age of 108. Juraizuka is Jesus's tomb, while Judaibo is that of his brother's ear. (More than just the ear, it also supposedly holds locks of hair from the Virgin Mary.) There's not much else to see in the area save for Towada lake and some pyramids that don't really look like pyramids, but they have a Jesus-fest once a year and the former co-worker tells me that you can buy Jesus sake in the village. Say no more, say no more.
It should be a long trip from there to Ishikawa prefecture, but the story makes it worth it: Moses' burial mound, anyone? There's a great description of the legend and area here, stating that "Moses flew to Japan by amasoraukifune (heavenly flying ship)" and lived until the ripe old age of 583 on Hodatsu mountain. Of course, before he died, he managed to marry an Imperial princess and become father to Romulus, who was raised by wolves and later founded the Roman empire. (I love how this all reads like really bad fan fiction.) The mound is in Moses Park (130-2 Kawara, Oshimizu-machi, Hakui-shi [no. 10 on the map]; tel:0767-28-5508; Hodatsu station, JR Nanao line) at the foot of the mountain, and in town, you can buy Moses pomegranate wine and jam to go with your Jesus sake.
Quite fittingly--seeing as Moses arrived on a space ship and all--there is a UFO museum nearby: Cosmos Isle Hakui (25 Menden,Tsuruta-machi, Hakui-shi; tel:0767-22-9888). Descriptions of the museum and its contents--including an alien corpse, genuine artifacts from the U.S. and former Soviet Union, and a real U.S. rocket from the 60's--are discussed in this Time article. According to the article, the museum's founder claims that the museum isn't lowbrow (despite the corpse) and that visitors can watch videos of scientists discussing their research in SETI (the Search for Extra-Terrestrial Intelligence) and their findings related to UFO phenomena. So try not to make fun of them to their faces. Access and admission info in English can be found here.
I've been told that, in addition to these two sites, there is yet another tomb of "another biblical guy" nearby, but I haven't looked long and hard enough to find out who that is and where. I'll get back to this when I learn more.
Last but not least: it would require another trip altogether for me to get to the Ark of the Covenant (yakuhitsu), which, as we all know, is in Kamiyama, Tokushima-ken, Shikoku. Of course. Indiana Jones had nothing on the good people of Kamiyama. "According to a former councilor of Kamiyama town, the Old Testament prophet Elijah came to Shikoku with members of an ancient Hebrew tribe, bearing the Ark of the Covenant, as well as such treasures as the Ten Commandments, Aaron's rod and the gold pot of manna that is said to have provided sustenance to the Israelites during their 40 years of travel through the Sinai."
The Ark is believed to be buried in Kami-Ichinomiya shrine, about which I can't find anymore information. How dare they not have a website? But I'm very intrigued by this description and will find out more when I have the time. "Nearby stands a three-legged torii gate that, according to Chinaka, is a replica of the rocket launcher used by Elijah and the Ebisu people when they 'flew from Jerusalem to Ethiopia.'" Who here isn't impressed? Raise your hand.
That's all I have so far. I'd appreciate corrections and elucidation from anyone with more info.
Friday, June 27, 2003
Friday, June 20, 2003
Kowai! The Many Aspects of Fear
art
It's a weekend of nightmares.
Tomorrow evening, I'm taking part in an informal discussion for Pia Magazine on Japanese horror films and their Hollywood counterparts. After the (arguable) success of The Ring, two more Japanese horror films are slated for Hollywood remakes--Ju-on and Honogurai mizu no soko kara (aka Dark Water). We want to know how far frightening images and ideas can go to transcend culture. As a horror buff and former student of the genre, I'm filling in the role of a film scholar, who will wax academic on the techniques, psychology and art of the horror film. How undeserved is that?
On that very same day, a theme exhibition will begin at Bridgestone Museum of Art in Kyobashi (Chuo-ku). The title? Kowai! The Many Aspects of Fear. (Actually, the Japanese title is a little more clever than that.) "Artists have never limited themselves to exploring only pleasant things. They have made scary things and terrible things the subjects of their works as well."
This exhibit takes a look at the darker, more disturbing imagery of such artists as Picasso and Gaugin--all from the museum's collection--to explore the concept of fear in both its personal and social manifestations. Admission is 700 yen for adults, and the exhibit ends September 28. Bring a blankie!
It's a weekend of nightmares.
Tomorrow evening, I'm taking part in an informal discussion for Pia Magazine on Japanese horror films and their Hollywood counterparts. After the (arguable) success of The Ring, two more Japanese horror films are slated for Hollywood remakes--Ju-on and Honogurai mizu no soko kara (aka Dark Water). We want to know how far frightening images and ideas can go to transcend culture. As a horror buff and former student of the genre, I'm filling in the role of a film scholar, who will wax academic on the techniques, psychology and art of the horror film. How undeserved is that?
On that very same day, a theme exhibition will begin at Bridgestone Museum of Art in Kyobashi (Chuo-ku). The title? Kowai! The Many Aspects of Fear. (Actually, the Japanese title is a little more clever than that.) "Artists have never limited themselves to exploring only pleasant things. They have made scary things and terrible things the subjects of their works as well."
This exhibit takes a look at the darker, more disturbing imagery of such artists as Picasso and Gaugin--all from the museum's collection--to explore the concept of fear in both its personal and social manifestations. Admission is 700 yen for adults, and the exhibit ends September 28. Bring a blankie!
Thursday, June 19, 2003
audition
I doubt that anyone reads this weblog for the audition notices, but...okay, what the hell? From TIP's mailing list:
Audition call for major part (Francisco Xavier) in NHK's famous Sunday Night Drama to be aired in 2004. Shooting will be in mid September to October. Candidate must be a caucasian male who looks 35-45 years of age, and also 178-183 cm tall with dark hair.
Audition takes place at NHK in early July. Those interested please e-mail Jun Takahashi (dated entry; e-mail address removed) at Trac One with your simple resume.
I doubt that anyone reads this weblog for the audition notices, but...okay, what the hell? From TIP's mailing list:
Audition call for major part (Francisco Xavier) in NHK's famous Sunday Night Drama to be aired in 2004. Shooting will be in mid September to October. Candidate must be a caucasian male who looks 35-45 years of age, and also 178-183 cm tall with dark hair.
Audition takes place at NHK in early July. Those interested please e-mail Jun Takahashi (dated entry; e-mail address removed) at Trac One with your simple resume.
Wednesday, June 18, 2003
theatre/audition
I don't know much about Tokyo Silverfish. It looks like a newcomer to the international theatre crowd, and a very welcome one at that. Not only do they nurture theatre artists in our area by conducting workshops on all stages of play production—from creation to performance—at little to no cost, they also provide an opportunity for said artists to showcase their talents, thus filling what I've always considered to be a very unfortunate gap in the English-language theatre community. While the other theatre groups do quite well with established plays and playwrights, there has been little support for people wanting to take that creative leap. (Tokyo Theatre for Children does welcome original scripts, but they don't perform very often.)
Silverfish's first play festival will be held at the Pink Cow on July 27th and August 3rd, showcasing seven original ten-minute plays by writers in Tokyo's international drama-rama, and they're still looking for more actors and directors to make it happen. If interested, please contact them through their website. The next audition will be on June 29.
I don't know much about Tokyo Silverfish. It looks like a newcomer to the international theatre crowd, and a very welcome one at that. Not only do they nurture theatre artists in our area by conducting workshops on all stages of play production—from creation to performance—at little to no cost, they also provide an opportunity for said artists to showcase their talents, thus filling what I've always considered to be a very unfortunate gap in the English-language theatre community. While the other theatre groups do quite well with established plays and playwrights, there has been little support for people wanting to take that creative leap. (Tokyo Theatre for Children does welcome original scripts, but they don't perform very often.)
Silverfish's first play festival will be held at the Pink Cow on July 27th and August 3rd, showcasing seven original ten-minute plays by writers in Tokyo's international drama-rama, and they're still looking for more actors and directors to make it happen. If interested, please contact them through their website. The next audition will be on June 29.
Monday, June 16, 2003
Femi Kuti 27-30/07/03
music
Have I told you how excited I am that Femi Kuti and the Positive Force are coming back to Tokyo?
If you've heard of him, then you've certainly heard of his father. And if you've heard of neither, well, we've got to get you out more. Let me explain.
Fela Anikulapo-Kuti (his name literally means "he who emanates greatness, who has control over death and who cannot be killed by man") was known as the father of Afrobeat (a merging of funk, improvisational jazz and traditional African music) and a thorn in the side of the Nigerian government. While his lyrics often criticized the Nigerian Establishment's corruption and mocked their efforts to stop him, his music still managed to emanate with all the rhythm and warmth of his country. Any old yahoo can dole out political music to their ego's content, but Fela Kuti's was actually good. He lived like he played--all passion, intensity, and even fun--and through his music, inspired and educated such musicians as David Byrne, Bootsy Collins, Ian MacKaye, Ginger Baker, Lester Bowie and even the Red Hot Chili Peppers and Beastie Boys (via Mario Caldato). An excellent article on the man and his music was written by Jay Babcock for my favorite magazine-that-no-longer-exists, Mean: "Fela: King of the Invisible Art."
On to Femi. Less antagonistic, more socially responsible and with 26 less wives than his father, Femi's music has the potential to go farther simply because it's more accessible. For one, while any one of Fela's recorded songs could easily run half an hour long, Femi keeps it short for the home listener. (While playing live, his songs run longer.) I've also read that, after Fela recorded a song, he would no longer play it in concerts, thus going against any effort to gain popularity and attract larger audiences. Meanwhile, Femi does play his recorded songs along with a couple of his father's. Femi has also gone on to recreate a new style of Afrobeat, updated for our times, by infusing elements of hip-hop, soul and modern dance music into his own. This new style has gained the attention of his contemporaries, prompting DJ remixes all over Europe.
You can hear the unprocessed version--potent and robust--at Blue Note in Tokyo from July 27th to the 30th. Tickets are 8000 yen (Ticket Pia code: 150-682). And according to this Smashing Mag review from a couple of years ago, despite the history and richness of Femi Kuti's music, there could still be very little interest from Tokyo music lovers. Isn't that always the way?
Have I told you how excited I am that Femi Kuti and the Positive Force are coming back to Tokyo?
If you've heard of him, then you've certainly heard of his father. And if you've heard of neither, well, we've got to get you out more. Let me explain.
Fela Anikulapo-Kuti (his name literally means "he who emanates greatness, who has control over death and who cannot be killed by man") was known as the father of Afrobeat (a merging of funk, improvisational jazz and traditional African music) and a thorn in the side of the Nigerian government. While his lyrics often criticized the Nigerian Establishment's corruption and mocked their efforts to stop him, his music still managed to emanate with all the rhythm and warmth of his country. Any old yahoo can dole out political music to their ego's content, but Fela Kuti's was actually good. He lived like he played--all passion, intensity, and even fun--and through his music, inspired and educated such musicians as David Byrne, Bootsy Collins, Ian MacKaye, Ginger Baker, Lester Bowie and even the Red Hot Chili Peppers and Beastie Boys (via Mario Caldato). An excellent article on the man and his music was written by Jay Babcock for my favorite magazine-that-no-longer-exists, Mean: "Fela: King of the Invisible Art."
On to Femi. Less antagonistic, more socially responsible and with 26 less wives than his father, Femi's music has the potential to go farther simply because it's more accessible. For one, while any one of Fela's recorded songs could easily run half an hour long, Femi keeps it short for the home listener. (While playing live, his songs run longer.) I've also read that, after Fela recorded a song, he would no longer play it in concerts, thus going against any effort to gain popularity and attract larger audiences. Meanwhile, Femi does play his recorded songs along with a couple of his father's. Femi has also gone on to recreate a new style of Afrobeat, updated for our times, by infusing elements of hip-hop, soul and modern dance music into his own. This new style has gained the attention of his contemporaries, prompting DJ remixes all over Europe.
You can hear the unprocessed version--potent and robust--at Blue Note in Tokyo from July 27th to the 30th. Tickets are 8000 yen (Ticket Pia code: 150-682). And according to this Smashing Mag review from a couple of years ago, despite the history and richness of Femi Kuti's music, there could still be very little interest from Tokyo music lovers. Isn't that always the way?
Wednesday, June 11, 2003
film
I went to a few of the Short Shorts programs this past weekend and only really found disappointment in the Academy Shorts. Further proof that Academy Awards and approval of the masses mean nothing.
That in mind, I think it's time for more Eurotrash!
As I mentioned in an earlier post, Uplink Factory's Eurotrash Fuhoushuukai starts with splatter movies from North America. (I don't know how they qualify as Euro exactly, but okay.) What I failed to mention before is that they're followed up by a non-fiction film on the history of horror films and the horror boom of the late 70s and early 80s. So break out your Barbara Creed and Philip Brophy. There may be a test afterward.
Most of the Eurotrash films actually worth seeing--wait. Who am I kidding? None of them are really "worth seeing." (For most, the main draws would be boobies, cheap sex and entertainingly poor production values. Just remember: Uplink has a bar.) Anyway. A good many of the films will be in languages other than English with Japanese subtitles. If that worries you, just check the descriptions for films coming from English-speaking countries.
Since I'm only really partial to the horror flicks, I'll skip descriptions of all other schedules and jump right to July 2nd: Standard Trash. One of the films that day will be by Beat director Antony Balch. Unfortunately, that film is Horror Hospital, worth seeing (however) for the IMDB user comments alone. Here's the line up with some of my favorite comments.
Horror Hospital
"There are few films that present no interest whatsoever, but this is one of them. There was better to be expected from Beat-related director Balch, who made at least three films in collaboration with William Burroughs (TOWERS OPEN FIRE, THE CUT-UPS, BILL AND TONY). Robin Askwith, a Mick Jagger lookalike, provides a lot of bad acting, and the rest of the cast do not fare better (the dwarf, in particular, is awful)."
Alien Prey
"OK, this simply is the worst movie ever made. Period. Horrible acting, sets and music. Ok, everything sucks in this movie. I almost forgot! The special effects are 'great' also. So if you like bad movies, watch this, it can surely make you laugh!"
I Drink Your Blood
"This is one of the most ineptly made horror pics of all time. The acting is dire, the script is appalling and frankly it's a mess but as with Ed Wood films, it is more than the sum of it's parts. When the construction workers appear looking like they still have shaving foam on their face - you will laugh! Serious horror? No! Fun? Oh aye!"
What do you mean you're not tempted?
I went to a few of the Short Shorts programs this past weekend and only really found disappointment in the Academy Shorts. Further proof that Academy Awards and approval of the masses mean nothing.
That in mind, I think it's time for more Eurotrash!
As I mentioned in an earlier post, Uplink Factory's Eurotrash Fuhoushuukai starts with splatter movies from North America. (I don't know how they qualify as Euro exactly, but okay.) What I failed to mention before is that they're followed up by a non-fiction film on the history of horror films and the horror boom of the late 70s and early 80s. So break out your Barbara Creed and Philip Brophy. There may be a test afterward.
Most of the Eurotrash films actually worth seeing--wait. Who am I kidding? None of them are really "worth seeing." (For most, the main draws would be boobies, cheap sex and entertainingly poor production values. Just remember: Uplink has a bar.) Anyway. A good many of the films will be in languages other than English with Japanese subtitles. If that worries you, just check the descriptions for films coming from English-speaking countries.
Since I'm only really partial to the horror flicks, I'll skip descriptions of all other schedules and jump right to July 2nd: Standard Trash. One of the films that day will be by Beat director Antony Balch. Unfortunately, that film is Horror Hospital, worth seeing (however) for the IMDB user comments alone. Here's the line up with some of my favorite comments.
Horror Hospital
"There are few films that present no interest whatsoever, but this is one of them. There was better to be expected from Beat-related director Balch, who made at least three films in collaboration with William Burroughs (TOWERS OPEN FIRE, THE CUT-UPS, BILL AND TONY). Robin Askwith, a Mick Jagger lookalike, provides a lot of bad acting, and the rest of the cast do not fare better (the dwarf, in particular, is awful)."
Alien Prey
"OK, this simply is the worst movie ever made. Period. Horrible acting, sets and music. Ok, everything sucks in this movie. I almost forgot! The special effects are 'great' also. So if you like bad movies, watch this, it can surely make you laugh!"
I Drink Your Blood
"This is one of the most ineptly made horror pics of all time. The acting is dire, the script is appalling and frankly it's a mess but as with Ed Wood films, it is more than the sum of it's parts. When the construction workers appear looking like they still have shaving foam on their face - you will laugh! Serious horror? No! Fun? Oh aye!"
What do you mean you're not tempted?
audition
Here's some audition info for NHK. This is just part of the e-mail that I got this morning; if you want to see the rest, please contact me.
NHK is looking for:
(1) Four Thai voices:
One Thai male in his late 20's
Two Thai males in their 50's
One Thai female in her 50's
(2) Four British voices:
One British male in his late 20's
Two British males in their 50's
One British female in her 50's
Audition: Mid -June at NHK
Rehearsal & recording: Early-July at NHK
Fee: Not yet decided
This came with sample dialog (a bit dramatic at that), so it's not narration work. You gots to act.
Here's some audition info for NHK. This is just part of the e-mail that I got this morning; if you want to see the rest, please contact me.
NHK is looking for:
(1) Four Thai voices:
One Thai male in his late 20's
Two Thai males in their 50's
One Thai female in her 50's
(2) Four British voices:
One British male in his late 20's
Two British males in their 50's
One British female in her 50's
Audition: Mid -June at NHK
Rehearsal & recording: Early-July at NHK
Fee: Not yet decided
This came with sample dialog (a bit dramatic at that), so it's not narration work. You gots to act.
Friday, June 06, 2003
Aida 14-23/09/03
opera
The opera production I want to see the most this year will be running while I'm out of the country...turning old.
From September 14th to the 23rd Giuseppe Verdi's Aida will be at the New National Theatre, Tokyo in Shibuya, with tickets going on sale starting this Sunday (June 8).
"Why is it so damn special?" you ask? Well, the production, set and costume design will all be done by Franco Zeffirelli. Yes, that Franco Zeffirelli.
"So what? He's just a name; and I thought Romeo and Juliet was kind of irritating," I could hearing you saying right about now. Look, don't argue with me, Spanky. I know what I'm talking about. Two of the best opera productions I have ever seen--Carmen at Arena di Verona and Pagliacci at the Los Angeles Music Center--were staged by Zeffirelli. And while he certainly excelled at bringing out the lavish sets and costumes, he also managed to produce overall interpretations that were both raw and tender. Just the way I like my open wounds.
Though Zeffirelli won't be directing this Aida, I'd still like to see what he's done with the design. After all, it's an opera made for grand spectacle, and this time there'll be no holding back. Bring on the big gold pyramids and jewel-encrusted desert animals! (I believe the sets come from the 1998 production of the show, though he's working on a new version for an Arena di Verona production this summer.)
Another point of interest: While I was surfing for information about the cast, I ran across this gem about one of the tenors scheduled to play Radames, Alberto Cupido. According to the story, the first time he "played" the role, he was plucked out of the audience to fill in for a sick tenor who lost his voice during the first act. Neat, eh?
Advanced tickets run from 4,200 yen to ::cough::gag:: 23,100 yen, with 1,500 yen tickets (Seat Z) being sold on the day of the performance. Bring a libretto if you can't read the Japanese supertitles.
The opera production I want to see the most this year will be running while I'm out of the country...turning old.
From September 14th to the 23rd Giuseppe Verdi's Aida will be at the New National Theatre, Tokyo in Shibuya, with tickets going on sale starting this Sunday (June 8).
"Why is it so damn special?" you ask? Well, the production, set and costume design will all be done by Franco Zeffirelli. Yes, that Franco Zeffirelli.
"So what? He's just a name; and I thought Romeo and Juliet was kind of irritating," I could hearing you saying right about now. Look, don't argue with me, Spanky. I know what I'm talking about. Two of the best opera productions I have ever seen--Carmen at Arena di Verona and Pagliacci at the Los Angeles Music Center--were staged by Zeffirelli. And while he certainly excelled at bringing out the lavish sets and costumes, he also managed to produce overall interpretations that were both raw and tender. Just the way I like my open wounds.
Though Zeffirelli won't be directing this Aida, I'd still like to see what he's done with the design. After all, it's an opera made for grand spectacle, and this time there'll be no holding back. Bring on the big gold pyramids and jewel-encrusted desert animals! (I believe the sets come from the 1998 production of the show, though he's working on a new version for an Arena di Verona production this summer.)
Another point of interest: While I was surfing for information about the cast, I ran across this gem about one of the tenors scheduled to play Radames, Alberto Cupido. According to the story, the first time he "played" the role, he was plucked out of the audience to fill in for a sick tenor who lost his voice during the first act. Neat, eh?
Advanced tickets run from 4,200 yen to ::cough::gag:: 23,100 yen, with 1,500 yen tickets (Seat Z) being sold on the day of the performance. Bring a libretto if you can't read the Japanese supertitles.
Tuesday, June 03, 2003
photography
As further reminder of my inferiority as a photographer, the 2nd exhibition of Naked Tokyo will be held at Gallery ES in Omotesando this week (3-8 June). View your city through more than thirty pairs of eyes, "stripped down to its essentials" and, in some cases, not completely safe for work. (Damn online gallery. Damn lack-of-partitions.)
The exhibition includes both printed and digital images, with computer displays beckoning visitors to play interactive games and without co-workers looking over your shoulder.
Thanks, Andrew.
As further reminder of my inferiority as a photographer, the 2nd exhibition of Naked Tokyo will be held at Gallery ES in Omotesando this week (3-8 June). View your city through more than thirty pairs of eyes, "stripped down to its essentials" and, in some cases, not completely safe for work. (Damn online gallery. Damn lack-of-partitions.)
The exhibition includes both printed and digital images, with computer displays beckoning visitors to play interactive games and without co-workers looking over your shoulder.
Thanks, Andrew.
Monday, June 02, 2003
film
Just a reminder for this weekend, the descriptions for each program in the Short Shorts Film Festival 2003 can be found here. Match them up against the schedule provided in my previous entry if you're particular about the program you want to see. This would be especially helpful if you're at all interested in any of the Maestro Shorts since they tell you which big fancy-schmancy director's film is playing in which program.
Check me out--being helpful for a change.
Just a reminder for this weekend, the descriptions for each program in the Short Shorts Film Festival 2003 can be found here. Match them up against the schedule provided in my previous entry if you're particular about the program you want to see. This would be especially helpful if you're at all interested in any of the Maestro Shorts since they tell you which big fancy-schmancy director's film is playing in which program.
Check me out--being helpful for a change.
opera
Ned/Stanley: You're a dame and I'm a fella.
Marge/Blanche: Stanley, stop, or I'll tell Stella.
Ned/Stanley: All I want is one embrace.
Marge/Blanche: I'll twist this bottle in your face.
Okay, so Oh, Streetcar! it ain't, but that's got to be one good reason to see Andre Previn's opera version of A Streetcar Named Desire at the New National Theatre Tokyo this month. (Produced by the Tokyo Chamber Opera Theatre.) You could snicker all the way through Philip Littell's English libretto as you're reminded of some of your favorite Simpsons lines. (Stella! Stella! Can't you hear me yell-a?!)
But another good reason would simply be the music. Mixing contemporary opera with jazz rhythms and sounds, Previn manages to capture the pain and passion of Tennessee Williams' characters, with added hints of brutality and neuroticism on the side. The result has been said to be distinctly American, so it'd be interesting to see what a Japanese group would do with it.
All S-seki and student tickets have been sold, but there are still mid-priced tickets available for all performances (A and B on this chart) through Pia (p-code: 147-199). The show runs at the NNTT Playhouse (part of Tokyo Opera City) from June 9th to the 12th and begins at 6 pm each night.
Alas, no jive-talking robots.
Ned/Stanley: You're a dame and I'm a fella.
Marge/Blanche: Stanley, stop, or I'll tell Stella.
Ned/Stanley: All I want is one embrace.
Marge/Blanche: I'll twist this bottle in your face.
Okay, so Oh, Streetcar! it ain't, but that's got to be one good reason to see Andre Previn's opera version of A Streetcar Named Desire at the New National Theatre Tokyo this month. (Produced by the Tokyo Chamber Opera Theatre.) You could snicker all the way through Philip Littell's English libretto as you're reminded of some of your favorite Simpsons lines. (Stella! Stella! Can't you hear me yell-a?!)
But another good reason would simply be the music. Mixing contemporary opera with jazz rhythms and sounds, Previn manages to capture the pain and passion of Tennessee Williams' characters, with added hints of brutality and neuroticism on the side. The result has been said to be distinctly American, so it'd be interesting to see what a Japanese group would do with it.
All S-seki and student tickets have been sold, but there are still mid-priced tickets available for all performances (A and B on this chart) through Pia (p-code: 147-199). The show runs at the NNTT Playhouse (part of Tokyo Opera City) from June 9th to the 12th and begins at 6 pm each night.
Alas, no jive-talking robots.
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