By Eliza Dosch
The production of Rashomonin the Thomas H. Empey Studio Theater at Casper College, Wyoming is a beautifully crafted and thought-provoking piece. Adapted from a Japanese film, Rashomon is a play written by Fay Hanin and Michael Hanin and set in ancient Japan. The production is ninety minutes long, done in one act. A man is murdered in the forest, but not just any man—a Samurai Warrior (Samuel McCarty). The story of his death is told through the accounts of Tajomaru, the accused murderer (Connor Saunders), the Samurai’s Wife (Emerald Clark), the Samurai’s spirit through the Medium (Emilia Albright), and a witness who saw the crime, who I will not name, so I do not spoil the play for those who have not seen it yet.
This performance of Rashomon, directed by William Conte, was done in a Black Box Theatre setting, which I adore for the added intimacy created between the actors and the audience members. A beautiful chalk mural of a Japanese garden is displayed to my right side. Right away, I was impressed with the set design (led by scenic and lighting designer Chantelle Gray). About half of the performing space is surrounded by a scrim, and the set is beautiful. A traditional style Japanese gate lay in ruins on stage right, and a wooden bridge/walkway sits behind it.
The performance begins with two men taking shelter under the ruined gates of Rashomon. The Woodcutter (Max von Gunten) and the Priest (Tate Spainhower) are soon joined by the old, crotchety Wigmaker (Nick Johnson). I was extremely impressed with the individuality these actors gave to their characters; they were all distinct in vocal quality and in body movement. Johnson stands out in his performance of the Wigmaker, an old, creepy, hunchbacked man. His use of body language is an intricate part of the character, and I applaud his commitment and consistency. As the story progresses, the characters begin to recount the vastly different versions of the Samurai’s murder, which the Woodcutter and the Priest hear in court.
The first version we hear is from Tajomaru. He enters, escorted by the Deputy (Cordell Jones). Saunders uses a combination of facial expression, body movement, and deep, raspy vocal quality to create a very bold stage presence. He captures the attention of the audience from the moment he walks on stage. As he begins recalling his tale, the scrim lights up, revealing the rest of the stage, a forest with trees and vines. Tajomaru’s story is then acted out before the audience’s eyes. The Samurai enters leading his wife on a horse, a beautiful horse puppet (created by Shelleen Harmon and Alexis Finkle) that was sadly only on stage for a very short amount of time. Tajomaru’s tale continues and ends with stunning fight choreography.
As three more versions of the Samurai’s murder are told, lighting effects with the scrim are used to seamlessly transport the audience from the Rashomon Gate to the forest where the murder takes place. This effect, along with the storytelling skills of the actors, keeps the audience engaged for the full ninety minutes.
From other productions directed by William Conte I have viewed, I see that he bases a lot of his interpretations around certain styles of movement. This is true with Rashomon as well. Movements and gestures used by the actors are influenced by oriental culture, and each individual character has a specific type of movement as well. Conte is a director who is known to take risks on stage and to step out of the box known as “traditional theatre.” Personally, I find his style very intriguing and refreshing.
One of the things I admire most about this production is the commitment each actor has to their character. They make bold choices and commit to them through the production, and the Kabuki-style costumes provided by Darrell Wagner, Kristen Downs, Emilia Albright, and Abbey Burkholder only add to the effect. Each character is consistent, except for the wife, who is written inconsistently because each tale describes her in a different light. Clark does an amazing job of diversifying herself to fit the contrasting ways that the Wife is described. Her character plays a different role as she tells the story, with her Mother (Savannah Knight Meigs) sitting next to her than she does as the Samurai recounts the tale through the Medium. Speaking of which, the moment where the Medium tells the Samurai’s story stands out in a fantastic way. The simple fact that the two characters speak in tandem creates a stunning intensity and added depth to the sequence.
Casper College’s Rashomon is a play that leaves the audience contemplating the concepts of truth and morality. It also asks, “Why do people lie?” and leaves the audience room to answer the question for themselves. While it touches on sensitive subjects, it handles them with grace, and allows the audience to see the flaws in our imperfect world. For those who wish to experience a new culture, and a different style of theatre, I would recommend Rashomon in Casper, Wyoming.
I do want to take a moment to let any potential viewers know that this production contains some heavier adult content, including rape and suicide. I would advise viewer discretion if those topics are triggering for any potential viewers. Now, with that said, I believe these topics were handled with respect and sensitivity. Nothing graphic is shown on stage. Suitable for ages 13 and above.
Casper College Theatre and Dance Presents Rashomon by Fay Kanin and Michael Kanin
Thomas H. Empey Studio Theater, Gertrude Krampert Theater Complex, 125 College Dr., Casper WY 82601
February 21-24, 28-March 3, 2019, 7:30 PM, 2:00 PM Matinee Feb. 24, Mar. 3
Tickets: $12 Adults, $10 Children/Teens
Contact: 307-268-2365, theatreanddance@caspercollege.edu
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