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Shogun Macbeth
The Bard finds Buddhism in latest from Pan Asian Rep
Emi F. Jones, Shigeko Suga and Claro Austria as the Yojos (Photo: Corky Lee)
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Pan Asian Repertory is renowned for its innovative productions, and it’s launching its 32nd season in classic style: Shogun Macbeth sets Shakespeare’s tale of power and greed in the feudal military dictatorship of 12th-century Japan, a time of warring clans. The three witches are yojos, obaki creatures with spiritual and supernatural powers. While incorporating classical Japanese art forms of Noh and Kyogen, Shogun Macbeth, running through Dec. 7, retains the Bard’s language and historical medieval setting.
John Briggs, who adapted the play, says he drew his inspiration from the parallels between Shakespeare’s tragic characters and the samurai philosophy. “The solipsistic philosophy of Japan allows us to re-discover Shakespeare’s observations of good people consumed with greed, violence screaming its horrors beneath the fragrant cherry blossoms,” says Briggs. “Relocating the story in Japan allows magnificent subtleties, poetry and mystery, vicious violence and new truths.”
Founded in 1977, Pan Asian Rep is the pioneer producer of Asian American theater east of the Rockies, boasting a full New York season off-Broadway, training programs, workshops and global touring. It is dedicated to creating meaningful stage opportunities for Asian American artists and producing quality, Asian-themed plays relevant to today’s audiences. For example, benchmark plays like Yellow Fever, China Doll and Cambodia Agonistes focused on migration and assimilation.
All productions are thanks to founder and artistic director, Tisa Chang. “When I was nine, I told my father I wanted to be the Chinese Joan of Arc and save my people,” Chang told Ms. magazine. True to her word, she has fostered a rebellion, but her weapons are artistic commitment and integrity.
“I was so tired of Westerners using Asian-ness as an exotic characteristic,” she added. “I don’t like stereotypes. I don’t like injustice. These were the seeds that shaped my resolve to direct. Whatever elements you use in theater must coalesce into a totality.”
That vision is underscored in director Ernest Abuba’s Shogun Macbeth, which explains why he chose the Kamakura Period (1192-1333) as its backdrop. The era gave birth to the first samurai society, known as the Kamakura shogunate, creating a regime template that ruled for 700 years.
“While the philosophies of Shinto and Buddhism and the cultural arts struggled to celebrate eras of refinement, Japan also suffered civil wars, famine, and plagues,” says Abuba, who likes to think that Shakespeare “read the works by the Buddhist monk Shinran Shonin when he was penning the Scottish play.”
Shakespeare clearly understood the nature of ambition and the power of myths to transform us. So does Pan Asian Rep.