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For the Ithaca Journal

IC stages fresh, innovative ‘36 Views'
By Miranda K. Pennington
Special to The Journal

From the first moments of Naomi Iizuka's “36 Views,” which opened at Ithaca College last week, the presence of cultural conflict dominates the stage. Themes of deception and the distinction between the genuine and the forged pervade the drama, forcing recognition of the fact that no one can know what they have not seen for themselves.

Designer Sandra Podolsky's set — tatami mats, shiny black tile, textured screens — is minimalist and colorless save for a silk-screened view of Mt. Fuji filling the background with ruddier colors. Darius Wheeler (Stuart Fingeret), an art dealer of questionable acquisitional morals enters, speaking of an “adventure in the Orient.”

Suddenly a percussive knock sounds, startling the hooded Kurogo (traditional Kabuki actors employed to provide props and communicate subtext). They deftly peel the layers and layers of kimono from the masked woman who has taken center stage to reveal a petite Asian woman in a smartly tailored suit. The scene has smoothly shifted — Wheeler and the woman, Setsuko Hearn (Aki Sato-Johnson) are meeting-cute at a cocktail party.

The Kurogo are constantly participating in the scene. Under the direction of Norman Johnson they employ measured dance-like movements and gestures to move props off and on for the actors' use. The story unfolds as a tiled mural is created on the floor, piece by piece placed and repositioned by the Kurogo until the 36 tiles reveal the final image.

Wheeler's assistant, John Bell (Peter Gray) has penned a pillow book in imitation of those written by Heian-era Japanese women and stumbles into passing the verses off as genuine. The lie takes on a life of its own — the verses fool everyone with their delicate phrases and authentic-sounding tone.

John's vindictive artist friend Claire Tsong (Alison Lani) forges a set of originals (accompanied by whirling Kurogo with singed paper tied to their wrists) to corroborate John's story and eventually revenges herself on Wheeler by selling the scam to Elizabeth Newman-Orr (Gillian Glasco), an undercover journalist.

Johnson minimizes the action of the play, focusing instead on cause (0or preparation) and effect (or consequence). A glass isn't dropped — the hand holding it tips, and broken shards materialize on the floor courtesy of a quick-fingered Kurogo. This inability to see what has actually happened reflects the way these historians can never truly experience events from the past, only observe the fragmentary surviving relics.

The incorporation of the Kurogo contributes to the overall sense of uncertainty by preventing the audience from knowing exactly what shape the room or the drama would take next. The periodic sharp raps from percussionist Alex Krasser signal an emotional or physical shift, making even the contemporary scenes in the play feel distinctively foreign.

The prints, scrolls and statuettes featured in Podolsky's design for the show took on lives and characters of their own, it seemed - highlighted by effective lighting (designed by Sarah J. Watson). Greg Robbins' costumes helped define the roles and attitudes of the characters, from the black-clad, hooded Kurogo to the professional attire of the academics.

Very little says as much about East-West cross influences as a traditional sari cut into a tight cocktail dress wrapped around a spiky-haired bisexual artist in insanely tall heels.

The cast is adventurous when it came to mixing ancient and modern theatrics, growing in confidence as the production progresses. Alyssa Denea Duerksen's briskly academic maturity as Setsuko's boss provides a firm stability, while Lani's animalistic energy was almost too feral for the otherwise muted atmosphere.

Ultimately the more challenging aspects, such as the expressive recitation of things that are beautiful or the ritualistic movements of the Kurogo, are the most effective. This production is a fresh and innovative element for the 2006-07 Ithaca College theater season. As Katsuchika Hokusai's famous series proves, an event can be viewed from dozens of angles without ever being completely understood. It's true of Mt. Fuji, and it's true of Iizuka's “36 Views.”

“36 Views” by Naomi Iizuka continues with performances at 8 p.m. April 3-6, and 2 p.m. and 8 p.m. on April 7 in the Clark Theatre in Dillingham Center at Ithaca College.Tickets range from $5.50-$10 and can be obtained from the box office at 274-3224 or online through IthacaEvents.com.

Miranda K. Pennington is a senior at Ithaca College studying music and writing.