Back Again (for the First Time)
First and foremost, welcome to my website and I hope you're at home and comfy.
No really, I hope you are at home because if you're in a public space I will feel self-conscious. I mean, anyone sitting behind you can see my face and profile and info and that makes me a little uncomfortable. Yikes. Go home.
I'm excited to announce that I'll be maintaining this blog on a regular basis. As it has become my job to promote myself, keeping this site current and active is a part of that. And maintaining a community of friends and other actors will be very important to my career. Just as important as my Japanese lessons and my acting classes.
So much in my life has been rotating and changing and evolving and I am growing more and more everyday. I am learning so much about myself as well as the entertainment industry here in Tokyo and I hope that I will continue along this path as far as it may take me.
Please join me.
Wen
14 August, 2013
02 March, 2012
Mobile Blogging
Finally, I can post without logging on from my computer. The chains have been broken and I'm free.
Although I'm sure this is not new technology. I'm dumb.
Lates.
Off to see...
Now that I've finally gotten that off my chest, I need to start talking about this new amazing opportunity. Up next, I will be performing in The Wizard of Oz, directed by Jonah Hagans. Jonah is such a visionary, in that he sees visions of a play no one else can imagine and trusts his team to make it happen. I like that in a director, someone who dreams big and has to scale it back (although I can see clearly how the more practical people such as the stage managers and producers of the world could be troubled by all this). It's why I admire Julie Taymor, to the chagrin of many peers. It's easy to fail, but at least fail while trying to fly.
In this production, I am playing The Tinman, which is possibly a cosmic joke. A few years back, in order to process a breakup, I wrote a poem casting myself as the metallic friend of Dorothy. It is common knowledge among my friends that sometimes I devalue emotion responses to situations, preferring to see the logical side and find rationale in seemingly irrational things. Thus I can come off as heartless. But I do have a heart, one so big that I need to protect it from the sharp arrows and knives of the world. So I think he is kind of an inspirational figure for me. And it is an honor to try to insert my feelings into a shell such as this.
I don't want to give away too much about the show and the look, as it will be undoubtedly "mindblowing" (since steam will erupt from the top of my head) but I will say that I had never heard of the phrase "steampunk" before this (although as a huge Final Fantasy fan I knew it existed) and I am in awe of what is to come from this show, visually with the talented team of artists working on it, and with some amazing performances from all. If the first read was any indication of how the show will be, prepare yourself for a hilarious and touching journey of four friends searching for their dreams in a land where anything can happen. Blurb.
We're off.
(PS: puns intended unless otherwise noted)
In this production, I am playing The Tinman, which is possibly a cosmic joke. A few years back, in order to process a breakup, I wrote a poem casting myself as the metallic friend of Dorothy. It is common knowledge among my friends that sometimes I devalue emotion responses to situations, preferring to see the logical side and find rationale in seemingly irrational things. Thus I can come off as heartless. But I do have a heart, one so big that I need to protect it from the sharp arrows and knives of the world. So I think he is kind of an inspirational figure for me. And it is an honor to try to insert my feelings into a shell such as this.
I don't want to give away too much about the show and the look, as it will be undoubtedly "mindblowing" (since steam will erupt from the top of my head) but I will say that I had never heard of the phrase "steampunk" before this (although as a huge Final Fantasy fan I knew it existed) and I am in awe of what is to come from this show, visually with the talented team of artists working on it, and with some amazing performances from all. If the first read was any indication of how the show will be, prepare yourself for a hilarious and touching journey of four friends searching for their dreams in a land where anything can happen. Blurb.
We're off.
(PS: puns intended unless otherwise noted)
29 February, 2012
Owari
I don't know why it has taken me two months to gather my thoughts on the subject. Usually one should sit down immediately after an event and chronicle it while the feeling is fresh. I guess for me, life was still moving too fast to catch my breath. During rehearsals and the performances, I was working, looking for a new job and a way to stay in Japan as my visa was expiring, decorating my new apartment with Goshi, preparing for my best friend's visit, moving out of the old apartment systematically- all of this simultaneously. There were too many life events happening and I couldn't sit long enough and focus on just one. However, now that my next show, The Wizard of Oz, is getting underway, I need to put kabuki to paper and prepare for my next challenge.
On the last week of August, 2011, we began our journey into the mystifying world of kabuki under the direction of Jon Reimer. Our first guide into the sacred art was Nakamura Matanosuke, a kabuki actor with the well-renowned Shochiku Company. We began as every journey must- with a single step. Literally, he taught us how to walk as different characters. Every Saturday morning, our group practiced walking as samurai, as merchants, as elegant women, and young maidens. Each week we continued to explore different points of kabuki, including how women of different ages refer to themselves (even down to the specific finger they use to point to themselves). We were eventually given a script from a famous scene called Shiranami Gonin Otoko, a tale about five thieves who are cornered by the police and miraculously escape. We learned to speak in the ka-buuuuu-ki rhythm and how to use our breath to support the strange throaty wails and tonal shifts we were not used to. Every morning I'd wake up with a slightly sore throat until my body became used to the change.
While we were learning the motions with our teacher's help, we were also studying the historical context of the world we were to portray. We spent one rehearsal discussing individual research projects, including the Meiji period of Japan as well as England during Dickens' lifetime. We learned that "A Christmas Carol" was actually released in Japan, however serialized. I discussed ghosts in Japanese literature and art, which was very helpful in understanding my characters and how they would look and behave in the play. It was our first bonding experience and we all gained a mental basis on which to support our acting choices.
Around October, we learned quite surprisingly that our sensei wouldn't be able to continue training us as he had become quite busy with his own performances. However, we were not prepared for the news that he would be replaced by a world renowned kabuki superstar who has traveled to several countries spreading his passion of the art. Our new teacher, Bando Yajuro, is a leading tachiyaku (or actor who specializes in male roles). Each week, he would further our kabuki movement vocabulary and was very active in correcting our form and further explaining the history of kabuki. I personally didn't realize how special this experience was until I actually saw my new sensei on stage.
In preparing for my onnagata (female) role, I studied many video clips featuring the most revered living onnagata actor, Bando Tamasaburo-san. Tamasaburo is art in motion and I would try to channel his grace as I practiced in rehearsal and with the help of Goshi's grandmother and sister, who are both skilled traditional Japanese dancers. When Tamamsaburo had a show open during our rehearsal period, I found it imperative I get a ticket to see him in person. And it was a delight to see my teacher as his partner. They are both members of the Bando family and as Yajuro-sensei is quite tall, he could actually pair with statuesque Tamasaburo-san. For me, to see my teacher on the stage with a legend was a warm reminder that I was privileged every Saturday to have this person coach me in the ways of kabuki. We knew starting the process that we were receiving a rare opportunity that most foreigners (and even Japanese) would never have. But to be trained by two well-respected and highly-regarded working actors who go on-stage right after our tutorials, that is a priceless experience.
Costumes and makeup deserve their own section. To begin, we knew it would be a daunting task to gather all the kimono we would need for the show. We begged, borrowed, bought and begged some more to borrow kimono from families and friends. As a lead, and a tall one, I had two of my costumes custom-made for me by the wonderfully talented Suzy Walker, aka Suzy Retro. She learned how to make kimono and hakama (the baggy pants typically seen worn by swordsmen) for me and Brian Berdanier, the actor playing Sukejiro (Scrooge). We were overjoyed with the amazing work she put into the costumes, but nothing could top my female costume. The magnificent and benevolent Giselle Camancho, who played Mrs. Kurachi (Cratchit) donated a gorgeous red kimono used for weddings. Suzy attatched gold accents to the long 'furisode' sleeves and train and then matched it with a flowing green 'obi' belt to make it the brightest star on the stage. I felt the femininity surge seeing myself in this gorgeous gown once the makeup was applied and the long unruly hair of my black wig topped my bald pate.
The makeup was the bane and blessing of the show. Done by the students of Yamano Beauty College, this was an excellent experience for them to learn a new style. On our first day to meet the students, our teacher Yajuro-sensei was on-hand to show the students how to apply the makeup. As a professional actor, he told us, you must learn to apply your own makeup from the age of 12. He shared his years of experience with a live demonstration before the students were allowed to try it on us. The student who did my makeup was sweet but quite nervous. As she didn't speak English and I don't speak Japanese very well, she worked in silence, constantly seeking approval from the makeup teachers. I mean, constantly. Which made me both nervous in her ability and glad that she was trying to do her best. It took her a very long time just to do one out of three of my makeup designs. As I played fours characters, I had to do quick costume changes, which involved makeup as well. So I needed someone confident and quick. During the show, I had other students rotate and work with me. But the last night, I was assisted by the very girl who first helped me. And I was surprisingly lucky! She had greatly improved, moving very quickly and making efficient lines. I never looked better on stage and I really appreciated her work and thanked her several times. As we were striving to get better through our rehearsals, so was the makeup team. I am very grateful for what they did to make us look good.
Not just makeup, but the costume, lighting, musicians, the props and scenery crews get special thanks for making a beautiful show. The box office crew kept things orderly during each sold-out performance, and the stage crew kept everything moving backstage. And that is not to leave out the director, who trained just as hard and learned just as much- probably more- about this art form and the actors who would come to each rehearsal with such enthusiasm and commitment to this daunting process. I made some amazing friends working on this show and I would be honored to share the stage with these people again. And while there were so many great performers and amazing scenes, I'd be remiss to not single out the star, Brian, as nothing short of brilliant. He carried the show and for me was a reminder of why we call the top-billed actor a lead. His hard work served as inspiration for all of us and I would try hard to follow his lead, as his co-star, to get my lines down quickly and practice as much as I could at home. I think we consciously tried to set a good example to the other actors who were not in rehearsal as much as we were. It was an amazing team and the show was quite the success, selling out a week before the show even opened! To this day I've heard nothing but great reviews and requests to remount in this year.
I was the first to express my doubt that a kabuki version of 'A Christmas Carol' would be any good. It's easy to conceive a cheesy mocking of an important art form in a country mired in tradition and ritual. However, the sheer dedication and passion put into this project presented the audience with a performance that was, at its heart, a true work of love and devotion to the art of kabuki. I can happily exclaim that I am proud of the work we did last December.
I will also be the first to say I would do it again in a heartbeat.
On the last week of August, 2011, we began our journey into the mystifying world of kabuki under the direction of Jon Reimer. Our first guide into the sacred art was Nakamura Matanosuke, a kabuki actor with the well-renowned Shochiku Company. We began as every journey must- with a single step. Literally, he taught us how to walk as different characters. Every Saturday morning, our group practiced walking as samurai, as merchants, as elegant women, and young maidens. Each week we continued to explore different points of kabuki, including how women of different ages refer to themselves (even down to the specific finger they use to point to themselves). We were eventually given a script from a famous scene called Shiranami Gonin Otoko, a tale about five thieves who are cornered by the police and miraculously escape. We learned to speak in the ka-buuuuu-ki rhythm and how to use our breath to support the strange throaty wails and tonal shifts we were not used to. Every morning I'd wake up with a slightly sore throat until my body became used to the change.
While we were learning the motions with our teacher's help, we were also studying the historical context of the world we were to portray. We spent one rehearsal discussing individual research projects, including the Meiji period of Japan as well as England during Dickens' lifetime. We learned that "A Christmas Carol" was actually released in Japan, however serialized. I discussed ghosts in Japanese literature and art, which was very helpful in understanding my characters and how they would look and behave in the play. It was our first bonding experience and we all gained a mental basis on which to support our acting choices.
Around October, we learned quite surprisingly that our sensei wouldn't be able to continue training us as he had become quite busy with his own performances. However, we were not prepared for the news that he would be replaced by a world renowned kabuki superstar who has traveled to several countries spreading his passion of the art. Our new teacher, Bando Yajuro, is a leading tachiyaku (or actor who specializes in male roles). Each week, he would further our kabuki movement vocabulary and was very active in correcting our form and further explaining the history of kabuki. I personally didn't realize how special this experience was until I actually saw my new sensei on stage.
In preparing for my onnagata (female) role, I studied many video clips featuring the most revered living onnagata actor, Bando Tamasaburo-san. Tamasaburo is art in motion and I would try to channel his grace as I practiced in rehearsal and with the help of Goshi's grandmother and sister, who are both skilled traditional Japanese dancers. When Tamamsaburo had a show open during our rehearsal period, I found it imperative I get a ticket to see him in person. And it was a delight to see my teacher as his partner. They are both members of the Bando family and as Yajuro-sensei is quite tall, he could actually pair with statuesque Tamasaburo-san. For me, to see my teacher on the stage with a legend was a warm reminder that I was privileged every Saturday to have this person coach me in the ways of kabuki. We knew starting the process that we were receiving a rare opportunity that most foreigners (and even Japanese) would never have. But to be trained by two well-respected and highly-regarded working actors who go on-stage right after our tutorials, that is a priceless experience.
Costumes and makeup deserve their own section. To begin, we knew it would be a daunting task to gather all the kimono we would need for the show. We begged, borrowed, bought and begged some more to borrow kimono from families and friends. As a lead, and a tall one, I had two of my costumes custom-made for me by the wonderfully talented Suzy Walker, aka Suzy Retro. She learned how to make kimono and hakama (the baggy pants typically seen worn by swordsmen) for me and Brian Berdanier, the actor playing Sukejiro (Scrooge). We were overjoyed with the amazing work she put into the costumes, but nothing could top my female costume. The magnificent and benevolent Giselle Camancho, who played Mrs. Kurachi (Cratchit) donated a gorgeous red kimono used for weddings. Suzy attatched gold accents to the long 'furisode' sleeves and train and then matched it with a flowing green 'obi' belt to make it the brightest star on the stage. I felt the femininity surge seeing myself in this gorgeous gown once the makeup was applied and the long unruly hair of my black wig topped my bald pate.
The makeup was the bane and blessing of the show. Done by the students of Yamano Beauty College, this was an excellent experience for them to learn a new style. On our first day to meet the students, our teacher Yajuro-sensei was on-hand to show the students how to apply the makeup. As a professional actor, he told us, you must learn to apply your own makeup from the age of 12. He shared his years of experience with a live demonstration before the students were allowed to try it on us. The student who did my makeup was sweet but quite nervous. As she didn't speak English and I don't speak Japanese very well, she worked in silence, constantly seeking approval from the makeup teachers. I mean, constantly. Which made me both nervous in her ability and glad that she was trying to do her best. It took her a very long time just to do one out of three of my makeup designs. As I played fours characters, I had to do quick costume changes, which involved makeup as well. So I needed someone confident and quick. During the show, I had other students rotate and work with me. But the last night, I was assisted by the very girl who first helped me. And I was surprisingly lucky! She had greatly improved, moving very quickly and making efficient lines. I never looked better on stage and I really appreciated her work and thanked her several times. As we were striving to get better through our rehearsals, so was the makeup team. I am very grateful for what they did to make us look good.
Not just makeup, but the costume, lighting, musicians, the props and scenery crews get special thanks for making a beautiful show. The box office crew kept things orderly during each sold-out performance, and the stage crew kept everything moving backstage. And that is not to leave out the director, who trained just as hard and learned just as much- probably more- about this art form and the actors who would come to each rehearsal with such enthusiasm and commitment to this daunting process. I made some amazing friends working on this show and I would be honored to share the stage with these people again. And while there were so many great performers and amazing scenes, I'd be remiss to not single out the star, Brian, as nothing short of brilliant. He carried the show and for me was a reminder of why we call the top-billed actor a lead. His hard work served as inspiration for all of us and I would try hard to follow his lead, as his co-star, to get my lines down quickly and practice as much as I could at home. I think we consciously tried to set a good example to the other actors who were not in rehearsal as much as we were. It was an amazing team and the show was quite the success, selling out a week before the show even opened! To this day I've heard nothing but great reviews and requests to remount in this year.
I was the first to express my doubt that a kabuki version of 'A Christmas Carol' would be any good. It's easy to conceive a cheesy mocking of an important art form in a country mired in tradition and ritual. However, the sheer dedication and passion put into this project presented the audience with a performance that was, at its heart, a true work of love and devotion to the art of kabuki. I can happily exclaim that I am proud of the work we did last December.
I will also be the first to say I would do it again in a heartbeat.
27 August, 2011
Hajime
Every story needs a beginning, regardless of how the tale unfolds. And today marks the beginning of our journey to turn a Dickens classic into a Kabuki World Premiere.
Cast back in June, A Kabuki Christmas Carol, written by Gary Perlman and currently being directed by Jon Reimer, had seemed even from the audition to be a mountain of a show. I knew going into the room that this show would challenge within us the very essence of what theatre means. Having been cast as three different roles, I was especially aware of the challenge that lies ahead.
However, meeting our sensei Master Matanosuke and having our first workshop with him was like seeing the mountain from its very base. And it will most definitely be a climb.
Our first lesson involved a reading of our second script, from the famous Kabuki play, Benten Kozo. I won't go into much detail about his vocalization (which is something you just have to experience) but it will take more than a few weekends to match the rich, resonant voice that came from this small frame of a man. It was very impressive and right away we knew we had an incredible talent in front of us. We all gave it our best effort, even those of us who are not fluent in Japanese and struggled to keep up. Maybe that was just me.
After the reading, we did some posturing and walking. We embodied a male townsman, a swordsman, a female, as well as their laughter and cries, and finally we learned a major pose, called a Mie. All of the things we practiced are things I will have the privilege of doing on stage. So I am grateful to have an opportunity to train in this style, a rare opportunity for a foreigner here in Japan.
As we continue the journey, I'll keep posting details and insights. I don't want to talk too much about the process alone.
This is only the beginning.
Cast back in June, A Kabuki Christmas Carol, written by Gary Perlman and currently being directed by Jon Reimer, had seemed even from the audition to be a mountain of a show. I knew going into the room that this show would challenge within us the very essence of what theatre means. Having been cast as three different roles, I was especially aware of the challenge that lies ahead.
However, meeting our sensei Master Matanosuke and having our first workshop with him was like seeing the mountain from its very base. And it will most definitely be a climb.
Our first lesson involved a reading of our second script, from the famous Kabuki play, Benten Kozo. I won't go into much detail about his vocalization (which is something you just have to experience) but it will take more than a few weekends to match the rich, resonant voice that came from this small frame of a man. It was very impressive and right away we knew we had an incredible talent in front of us. We all gave it our best effort, even those of us who are not fluent in Japanese and struggled to keep up. Maybe that was just me.
After the reading, we did some posturing and walking. We embodied a male townsman, a swordsman, a female, as well as their laughter and cries, and finally we learned a major pose, called a Mie. All of the things we practiced are things I will have the privilege of doing on stage. So I am grateful to have an opportunity to train in this style, a rare opportunity for a foreigner here in Japan.
As we continue the journey, I'll keep posting details and insights. I don't want to talk too much about the process alone.
This is only the beginning.
28 September, 2010
Xposted
Vox, my other blog, is closing down. So I've been trying to move some of my writings over before they do on Thursday. So if anyone actually reads this, good luck.
Wendell
Wendell
Everyone Else
And yet
And yet everyone else gets what they want.
I'll see to it
I'll see to it that everyone else gets what they want
I'll see to it, and yet
I cannot see what I want.
What is it that I want?
Maybe these five years back.
Five years is a long time
Five years is a long time to see that everyone else gets what they want and yet
I still cannot see the point
The point
The point where everything feels home
And everyone else feels like home
And yet I am writing from your bed, alone
You made your bed
You made your bed now I lie in it
And yet
And yet being home is the only time where things make sense
Because I can sense through blue eyes
This is the last sleepover because of everyone else
And yet I can see the paths ahead of me and everyone else
The paths are made of dust and clay that forms
Clay that forms from
The clay is made of vermilion dust, two parts dust one part tears
Tears from blue eyes
Not shed over you
Not over you yet (not over you, yet)
A record to chant, a mantra on repeat
These tears are not shed over your skin
I can shed your skin
And yet
And yet the red dust is comprised of human skin
So dust is a reminder of everyone else
And yet everyone else gets what they want, and with green eyes I'll see to it that everyone else...
And yet everyone else gets what they want.
I'll see to it
I'll see to it that everyone else gets what they want
I'll see to it, and yet
I cannot see what I want.
What is it that I want?
Maybe these five years back.
Five years is a long time
Five years is a long time to see that everyone else gets what they want and yet
I still cannot see the point
The point
The point where everything feels home
And everyone else feels like home
And yet I am writing from your bed, alone
You made your bed
You made your bed now I lie in it
And yet
And yet being home is the only time where things make sense
Because I can sense through blue eyes
This is the last sleepover because of everyone else
And yet I can see the paths ahead of me and everyone else
The paths are made of dust and clay that forms
Clay that forms from
The clay is made of vermilion dust, two parts dust one part tears
Tears from blue eyes
Not shed over you
Not over you yet (not over you, yet)
A record to chant, a mantra on repeat
These tears are not shed over your skin
I can shed your skin
And yet
And yet the red dust is comprised of human skin
So dust is a reminder of everyone else
And yet everyone else gets what they want, and with green eyes I'll see to it that everyone else...
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