By George F. Lee, Star-Bulletin
From left, Michael Ng as Toshi, Allan Okubo as
Mr. Oyama and Keih Kashiwada as Kiyo.
Compelling
body of workAll I Asking For Is My Body
By John Berger
Special to the Star-BulletinTHE experiences of the Japanese in Hawaii before and during World War II have been chronicled in innumerable articles, short stories, plays and books. None have addressed the subject more effectively than Milton Maruyama has in "All I Asking For is My Body."
The script for Kumu Kahua's production is an adaptation of his novel of the same name, first staged on the mainland more than 10 years ago. He revised the piece this spring for its Hawaii debut. Kumu Kahua director Harry Wong III, the cast and tech crew have make it compelling local theater.
The story focuses on the Oyama family of Pu'ukoli'i, a sugar plantation camp near Lahaina. The most prominent characters at first are the two sons, Toshio (Michael Ng) and Kiyoshi (Keith Kashiwada). Both dream of careers as professional boxers, although just about any career will do if it gets them off the plantation.
Maruyama introduces their father (Allan Okubo) pretty much as they see him -- a lazy, beer-swilling ne'er do well who expects them to work themselves to death on the plantation to pay off a $6,000 family debt. Mom (Valerie Falle) is a traditional Japanese wife who backs her husband in all things. She lectures the boys on the importance of unwavering filial piety.
Some playwrights would be content with a story about ambitious young nisei
men being held back by their old-fashioned and insensitive issei father. Maruyama has written a much more complicated and realistic story. Although contemporary 4th- and 5th-generation Japanese-Americans will certainly side with the sons, he skillfully frames the conflict in several perspectives.
Declaring bankruptcy would be the solution for many modern families, but viewed through the prism of 2,600 years of Japanese culture, it is the sons who are wrong. Children are expected to serve their parents and grandparents, just as their elders served the generations before them.
Maruyama doesn't fully tell the story of the debt, but provides enough information to establish that Dad didn't blow the money on bar hostesses or on gambling junkets to Las Vegas.
Kashiwada and Ng are outstanding. Ng radiates Toshio's frustration at being held back and forced to quit school to slave in the fields. Ng shows, rather than says that while Toshio wants his freedom, he values his father's appreciation even more. The problem is that Dad doesn't understand why a son expects to be thanked for doing his duty to the family.
The clash between different cultures and different generations has rarely been portrayed as memorably on the local stage as Ng, Kashiwada and Okubo do here.
Falle is perfect as a dutiful Japanese wife who almost always keeps her emotions unspoken. Falle maintains a deadpan expression for much of the show and succeeds in communicating quite well without words.
Emily Kojima (Michie Yamada) stands out beautifully as Kiyoshi's perspective wife. Kojima was delightful as seductive Suzanne in Manoa Valley Theatre's recent production of "Picasso at the Lapin Agile." She is equally appealing as an almost-innocent plantation girl here.
M.J. Gonsalvo, Blake T. Kushi and Craig Howes complete the cast with effective work in multiple supporting roles.
BullDog's set neatly blends boxing ring and plantation camp motifs. Kashiwada and Ron Perry (sound consultants) do an exceptional job evoking a variety of moods with their choice of audio effects. Gerald Kawaoka (lighting) and Lisa Ann M. Omoto (costumes) add the final pieces to this memorable production.
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