Entities and genres within the world of the arts do not program according to the others but in line with what fits into the small world and schedule of the individual institution. Therefore, it is wondrous indeed when the arts lover finds resonance in confluent experiences that seem to harmonize.
One may have experienced North Coast Repertory Theatre’s excellent production of “Rashomon,” playing through Aug. 12. It’s also possible, even probable, that one is among the 10 million Americans currently reading “Harry Potter and the Deathly Hallows,” which lasts however long it takes.
If one has experienced these evocations of thought and fantasy, the icing on the imagination could be “after the quake,” which opened at La Jolla Playhouse Sunday, July 29. A Steppenwolf Theatre production adapted by Frank Galati from two short stories by superstar Japanese writer Haruki Murakami, it is simple yet profound, humorous and wise. Above all, it is a touching love story that interweaves reality and fantasy. Galati stages the work.
The realistic story concerns three Tokyo college students, Sayoko (Aiko Nakasone), Takasuki (Andrew Pang) and Junpei (Hanson Tse), who become lifelong friends. Junpei is shy and retiring and cannot bring himself to express his love for Sayoko, who ultimately marries the more aggressive but likable Takasuki.
Sayoko and Takasuki’s daughter, Sala (Kayla Lauren Mei Mi Tucker) lives in both fantasy ” mostly nightmares about Earthquake Man ” and reality, which is filled with tales told to her by Junpei. Junpei is the only one able to calm her following her nightmares, which were induced by television images of the havoc wrought by the nearby Kobe earthquake.
In addition to Junpei’s captivating stories about a honey-loving anthropomorphic bear, the fantasy plot concerns a giant Frog (Keong Sim, also the narrator) that enlists a downtrodden banker named Katagiri (Pang) to go underground and kill the Worm “as big as a commuter train” that threatens to devastate Tokyo with a huge earthquake.
The real and fantasy characters, all marvelously acted, are interwoven in the blink of an eye. One may draw parallels or not. The playgoer adores Junpei for his goodness and dedication and relishes each appearance of the debonair Frog with his green horn-rimmed glasses, green socks and gloves that have bulbous fingers (costume designer, Mara Blumenfeld). “I’m here to save Tokyo from destruction,” he says to the incredulous Katagiri. “I’m a real frog. Shall I croak for you?” Delicious moments ensue.
Murakami’s lifelong interest in Western literature and music are manifest in Galati’s production. References to well-known writers are numerous, and humorous through repetition, and in the background a cellist (Jason McDermott) and Koto player (Jeff Wichmann) play snatches of Franz Schubert, the Beatles’ “Norwegian Wood,” and other music arranged by Andre Pluess, Wichman and McDermott. James Schuette’s Japanese-influenced set of red enamel, rice-paper panels and wood is lovely, lighted by James F. Ingalls.
Along with other input of recent days, the overall effects of “after the quake” ” visual, aural and actorly ” put one in a peaceful and open frame of mind, evoking fantastical dreams and the feeling that anything is possible.
“after the quake” continues at the Mandell Weiss Forum at La Jolla Playhouse through Sunday, Aug. 26, with performances at 7:30 p.m. Tuesday and Wednesday, 8 p.m. Thursday through Saturday and 7 p.m. Sunday, and 2 p.m. matinees Saturday and Sunday. For tickets and information, visit www.lajollaplayhouse.org or call (858) 550-1010.
