Jermyn Street Theatre, 8th September – 3rd October. Reviewed by Claire Roderick
Based on 3 short stories by Ryunosuke Akutagawa, Michael John LaChiusa’s wonderful musical challenges the audience with the meaning of truth. Is it possible to see the whole truth, or does our perspective alter our understanding of the truth?
Both acts open with the story of Kesa and Morito, and the same haunting song sung in turn by two lovers in medieval Japan, each planning drastic measures to end their relationship.
Act one centres on R Shomon – the story of a death in Central Park in 1951. Three different versions of the event are given by the protagonists, all claiming to have killed the victim. We watch the characters tell their tales from their perspectives – the victim using a medium, and hear the changing testimony of a witness to the crime. The character’s versions of the truth are all coloured by their past experiences and they all sing that “I see what I wanna see”.
The second act story, Gloryday, is about a priest in 2002 who has lost his faith after “the tragedy” that hit New York. He dreams up the promise of a miracle that will happen in Central Park to demonstrate that there is no God. This story is much lighter and funnier on the surface , but asks deep questions about faith and truth. The characters the priest meets in the lead up to the miracle are all looking for answers and reasons for their fate. On the day of the miracle, the priest finds redemption “The lie was for everyone, but the truth was only for me.”
Now this all sounds like a hard slog for a musical, but the expertly crafted writing and music and the captivating performances sweep you along. The set is simple – a nod to the origin of the stories in a Japanese style woven bamboo backdrop – the only things on stage are a table and two chairs in the first act, and a single church chair in the second. The lighting and score are not so simple. LaChuisa’s music is influenced by many styles, and he has blended them together to create a beautiful and memorable score. In some musicals, at times the music is at odds with the story being told, but here they are as one. Trills and runs, together with perfectly timed lighting effects and artful choreography, enhance the impact of the performances brilliantly.
The cast give passionate performances and have no room to hide on that tiny stage, so close to the audience. Marc Elliot is cocky, slick and menacing as the thief, and haunted (oh his eyes!) as the reporter. Sarah Ingram gets to chew the scenery in both stories as the medium and Aunt Monica – before showing a delicate vulnerability in “There will be a miracle”. As the husband, Marc Goldthorp dies with panache, over and over again, and gets to show a wilder side as the CPA. That man can sing! Cassie Compton is a firebrand as the wife – her powerful version of ”No more” was a highlight of the show; in act two as the lost and conflicted actress she was full of yearning. Jonathan Butterell is a wheedling, jumpy janitor in act one. In act two he gives an spellbinding performance as the priest, taking us on a journey through his loss of faith to his ultimate redemption.
See What I Wanna See is thought provoking, beautiful and a sublime piece of theatre. Hopefully this superb production will make it much better known in the UK.
