Following my recent posts on contemporary Noh drama and transmission and change in Noh, and hot on the heels of relishing late Beethoven quartets, for a different vision of sublime mysteries I returned to the South Bank for a live performance of a new English-language Noh play at the Purcell Room. Do hurry (an unlikely word in this context!) to catch further dates on the tour here, with more in London, as well as Ireland and Paris.
Since the group can hardly recreate the elaborate Noh stage on tour, they’ve opted for a simple backdrop. But the performance, by the seasoned artists of Theatre Nohgaku with their long experience of creating Noh in English, was mesmerizing.
The evening opened with the auspicious final dance from the traditional drama Takasago, which I introduced in my first post, with the distinguished Akira Matsui embodying the God of Sumiyoshi.
Then came the world premiere of the English-language Noh drama Between the Stones, the third collaboration between author Jannette Cheong and composer Richard Emmert. It explores how the burden of grief can be transformed through the healing power of the karesansui Zen rock garden. Attuned to the spirit of traditional Noh, the text is highly poetic. The programme’s libretto gives helpful clues to structure—shidai and issei entrance music, sageuta and ageuta low- and high-pitched song, mondo dialogue, and so on.
In the midst of a typhoon, a grieving traveller (waki, Jubilith Moore) visits the rock garden at the Ryoanji temple in Kyoto. where she meets a woman gardener (shite, Kinue Oshima—the only professional female Noh actor in the Kita school). Understanding the traveller’s sadness, the gardener helps her appreciate the nurturing properties of the garden and how the art of raking the gravel enhances its beauty and evokes a peaceful soul. The gardener then vanishes.
In the interlude a temple priest (ai, Ashley Thorpe) appears, giving the traveller an introduction to the history and mystical significance of the garden. He then tells her that the woman gardener was an illusion, perhaps the spirit of the garden appearing to the traveller.
Act Two takes place some years later “on an island in the West”, where the traveller has now created a simple rock garden of her own. The woman gardener reappears and reveals herself as the garden’s Spirit of the Silent Waves. Along with the chorus, they evoke the pain of loss and the courage of those who face death—”as heavy as Mount Tai, or as light as a winter butterfly”. The Spirit of Winter Butterflies then emerges with the final dance, performed by 11-year old Iori Oshima—sixth generation in the Oshima lineage.
The hayashi ensemble—including two female performers—is entrancing as ever, with ethereal flute and haunting kakegoe cries from the three drummers. The international chorus plays a major role too.
Between the Stones makes a numinous addition to the growing repertoire of Noh in English. Here’s an excerpt from Pagoda, the first collaboration of Cheong and Emmert from 2009, a modern British–Chinese story pondering themes of identity and migration: