Writer and Director: Hideki Noda
Japanese company NODA MAP return to London with their new production, Love In Action. Based on Russian writer Dostoevsky’s late 1800s novel, The Brothers Karamazov, both the novel and the production deal with a set of three half-brothers and the suspected patricide in their family. Writer/Director Hideki Noda (who also performs in the production) has reimagined the story, setting it in Nagasaki, Japan, in August 1945 during the final days of World War II. This clever reimagining sees the story play out as an allegory for Japan itself, and there is an interesting irony in setting a Russian story in Japan during that time.
Now, if you are expecting the sort of drama that the source material and time period suggest or a sleek courtroom drama that the poster alludes to, you will be disappointed. Elements of the show give an exciting, live anime style of theatre. However, this makes it difficult to keep the emotional stakes and tension. The work almost becomes pantomime with onstage costume changes and bizarre contemporary references. One particularly confusing line about incest, which is potentially a joke about double casting, adds nothing and feels like a forgotten storyline.
There is a lack of depth to the large array of characters, and what drives each of them is not always clear. The few female characters are particularly stereotyped. One scene sees two women fighting over an apparently irresistible man as they scream “bitch” at each other. The angle for this is humour, but it feels tired and underwritten.
A highlight of the production is the exquisite final scene. Finally, it leans into the weight of the subject matter with soaring orchestral music and striking imagery. We’re left wondering what could have been possible if the production had allowed more of this. Another highlight is Nobue Iketan’s performance as the villainous Madame Russaky. She gives a delightfully silly, exaggerated performance while still finding nuance and colour.
Vibrant ensemble work keeps the show lively and visually engaging. The large group of performers work tirelessly over the two hours as they dance, play numerous unspoken characters and generally bring the space to life. They also play a large role in the swift and satisfying scene changes as we travel back and forth through time and place.
Despite the run time, Love In Action is an engaging piece and even with the long list of characters and subtitles, it is easy to follow once the over-paced opening is finished. Likely, a Japanese speaker or big anime fan would have a different experience, but overall, the production feels like a large collection of creative ideas that probably don’t all belong together.
Runs until 2 November 2024
The Reviews Hub Score
Vibrant but misses the mark
Absolute director-indulgent rubbish. I feel sorry for the 2-line actors who had a great opportunity to show their skills on the London stage, only to be over-shadowed by the poor production; non-existent storyline; and amateurish script. Sadlers Wells should know better than to support this garbage.
Shockingly political agenda packed in a story that would have been a beautiful discussion of life death morality and religion. They even talked about pearl harbour in a joke, so their invasion is treatly lightly where the theme in the end is reflecting cruelty of war? It is a clear white-washing of WWII history where Japan is frame as the only victim even though they led multiple brutal wars in Asia themselves. I am beyond shocked. Would this play make a showing in the US or Germany? I think not. There is a disfference with reimagining a classic play and making a political agenda. Discusing innocent people’s situation under war would be totally acceptable, but in the second half director imagines if Japan had the bombs first so they can launch in the US. I did not think that was acceptable in a play aimed to discuss the cruelty of war and crime of dropping atomic bombs in Japan