Vanishing Point & Kanagawa Arts Theatre in association with Tramway present:

CONFESSIONS OF A SHINAGAWA MONKEY
品川猿の告白

As part of our Scotland/Japan co-production we are keen to explore, share and learn from the interesting cultural differences in the way audiences respond publicly to theatre productions in each country. Here you can read some detailed, thoughtful feedback about the show taken from blogs in Japan following the world premiere at KAAT, Yokohama. Please note these have been translated from Japanese to English by the team at KAAT using a good quality online translation tool. You can view the original blogs in Japanese here.

AONO AKIRA
30 Nov 2024 07:20

A tasteful and elegant stage.

If you're at all curious, you should definitely see it!

The moment I entered the venue, I knew the fog was on and I felt that I was about to enter the fantasy world of Shinagawa Monkey. I got the impression that the use of light, such as lighting and flashlights, was very sophisticated. It was fun to see how they changed the colour in the centre of the stage and how they used the light. I was pretty impressed that they could make a scene change without using a curtain look so stylish.

Shinagawa Monkey is a Bruckner aficionado, so it plays as background music, and the timing is perfect and pleasant!

You could feel the respect for the original work in the performance.

There is a strong message, but it is not forced.

At the end, light was used to express the hope of the Shinagawa monkeys.

There couldn't have been a better ending.

And the best part of watching a performance is the sense of unity in the audience. During the bath scene, the actors showed off their physical beauty, and even though no one was speaking, the whole audience was buzzing, and I felt like I was ‘watching a stage performance’.

Everyone laughed at the humorous behaviour of the monkeys. Even if you don't know them, you can tell what they are thinking even if they don't say a word.

The applause continued and there were three curtain calls. The person in front of me raised his hand a little higher and clapped, and I said, ‘I know! That was great, wasn't it!’ I thought to myself, and clapped at a higher level too.

I felt an overwhelming affirmation that all human beings have a cruel ‘darkness’, but that they are human beings including that.

I think you will enjoy it more if you read the original short story before watching it.

I thought that it might be difficult to advertise the show at KAAT because of its short run, so I decided to write an article so that I could contribute as much as possible. It would be a waste if tickets remain unsold for such a good play. The high level of satisfaction makes the ticket price seem cheap. It was really the right decision to buy it.

ANONYMOUS
Nov 2024

At Kanagawa Arts Theatre (KAAT), I saw an Anglo-Japanese co-production, a new play by Englishman Matthew Lenton, in which Haruki Murakami's ‘Shinagawa Monkey’ and ‘Confessions of a Shinagawa Monkey’ are mixed together and performed by Japanese and English actors in their respective languages.

In relation to interviewing Lenton, I was allowed to read the script at that point, but as Lenton said, there had been changes since then and some parts had changed.

The way the monkey is represented has not changed since we spoke to him, with the British actor Sandy Grierson as the monkey, with the monkey's long tail attached and the tail controlled by the puppeteer.

The monkey is very lifelike and, in a way, a realistic ‘Lord Eté’ (well done, Sandy!). The monkey is a very realistic ‘Lord Eté’ (Sandy, you're good!).

When I read the novel, I knew in my head that he was a ‘monkey’, but I had the impression that he could be a monkey, a raccoon, or even a dog, but in this way he is as close to a human as possible (he speaks human language and understands human things). But when you see an ‘ape’ on stage that is as close to a human as possible (this ape speaks human language and understands human things), you get a different take on this story.

The chimpanzee's genetic information is almost the same as humans (only 1.2 per cent different), which makes the sadness of the ape, who has been made more human by this human, even more poignant. 

The darkness of the unfathomable loneliness of this lonely ape, which is not accepted by either society because of its appearance (which is a big difference) and a little difference (which is closer to humans), was felt and pressed close to the heart.

The main character Mizuki (Rin Nasu) is in this ‘loneliness’ in human society, and I was also attracted to this darkness, including the background that she is vaguely aware of it.

However, it is likely that each of us lives our lives while facing the loneliness of being an ‘individual’ somewhere in our lives. While feeling the sadness and loneliness of such people, Mizuki's kindness as a person who continues to care for her mother, and the mutual respect between Mr and Mrs Sakaki, made me want to put my hope in them.

I felt that the audience's concentration level remained high throughout the performance, as the story has a high element of mystery in that one day one's name disappears (as readers of Murakami already know).

The subtitles are always in both Japanese and English (in full), so I was constantly watching and didn't have time to rest my head, but this is a good way to check both, and once you get used to it, you can make that choice, which is fun.

I am still impressed by how good the British actors are.

ANONYMOUS
Dec 2024

I went to see Confessions of a Shinagawa Monkey at the KAAT Kanagawa Arts Theatre!
The play is based on a story by Haruki Murakami.

https://ameblo.jp/takalove2020/entry-12877318851.html

Last year, I watched The Wind-Up Bird Chronicle, another adaptation of Murakami’s work, at the Tokyo Metropolitan Theatre. I was struck by how well Murakami’s mysterious, fantastical world meshed with the theatrical expression of an international director. Naturally, I had high expectations for Confessions of a Shinagawa Monkey, a collaborative production between the UK-based theater group Vanishing Point and KAAT in Japan, so I eagerly made my way to the venue.

Before heading to the theater, I thought I’d have to print out my ticket at a convenience store, but upon checking the purchase
confirmation email, I found it used a QR code system instead—so convenient! I simply showed the QR code at the reception and entered.
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About the Play

Spoiler Alert

At the heart of the story is a “mysterious monkey that steals people’s names.”

This monkey, taught human language by a university professor, is able to speak. He also has a profound appreciation for music and art. However, this ability isolates him, leaving him unable to bond with other monkeys and forcing him to live a lonely life among humans.

On the other hand, people whose names are stolen by the monkey forget their own names entirely. It’s a dire situation. Since they don’t know that a monkey stole their name, they assume it’s a brain condition, but medical tests reveal nothing. What an awful monkey!

However, the reason this monkey steals names is heart-wrenching: he desires the names of women he falls in love with. As the story unfolded, I couldn’t help but feel pity for the monkey. His solitude struck a chord, and by the end, tears welled up in my eyes.

Interestingly, rather than focusing on the serious violation of women’s rights to their names, my sympathy tilted toward the monkey. Perhaps I felt a connection to his plight.

Above all, the performance of the actor playing the monkey was astounding. Sandy Grierson, a British actor, played the role, and his long tail was manipulated by a puppeteer.

The stage direction was also exceptional!

Right from the opening scene, actors emerged from a haze of smoke and light, creating an incredibly captivating entrance. It pulled me into the story's world in an instant.

Standout Moments

One particularly memorable element was the lighting. Throughout various scenes, the lighting was used effectively, and in
the final scene where the monkey holds a name tag, the surrounding area dimmed, leaving the name tag softly illuminated. The monkey’s face was gently highlighted before fading away. The beauty and melancholy of that moment lingered long after the performance ended.

While there were some intense lighting moments, these were flagged as part of a “trigger warning” beforehand, which helped me prepare (asI’m sensitive to bright lights, I occasionally shielded my eyes with my hand).

Subtitles: Questions and Observations

Before purchasing tickets, I contacted the theater with the following three questions:

1.Do the Japanese subtitles cover all dialogue?
→ Yes, this time, all dialogue, including Japanese lines, was displayed. Since the cast featured both Japanese and British actors, with dialogue in a mix of Japanese and English, I had worried that Japanese subtitles wouldn’t appear when the Japanese actors spoke—a common issue in subtitled productions.

2.Are accessibility subtitles available?
→ Not for this production. Only dialogue subtitles were provided. Speaker names, music, and sound effects were not included.
The British actor portraying the monkey spoke primarily in English, occasionally delivering broken Japanese for comedic or emotional effect, but this nuance wasn’t captured in the subtitles. Additionally, scenes where the monkey was caged had off-stage voices suddenly chiming in, making it hard to discern who was speaking. I suspect there were many other sound cues critical to the story but inaudible to some. Accessibility subtitles could have made this production more inclusive and enjoyable for a broader audience.

3.Where are the subtitles positioned, and which seats offer the best view?
→ I was given a rough estimate of the subtitle location. In practice, Japanese subtitles were projected at the center top of
the stage, with English subtitles slightly to the right. Both were centrally aligned, complementing the actors' positions on stage.
I sat in Row E, stage left, where I had to slightly raise my gaze to read the subtitles. Lowering the subtitles might have been ideal, but this would likely interfere with the stage set. Personally, I recommend seats in the center of Rows F or G, where you can enjoy both the subtitles and the performances seamlessly.

I shared my thanks and suggestions with the theater, noting that such subtitle-related information could be better highlighted on their website in advance. For example, an upcoming performance in Chofu explicitly lists the location of subtitles and interpreters. Similar efforts have been made at the Tokyo Metropolitan Theatre. If KAAT adopts such measures, it would be wonderful!

Final Thoughts

The play was truly extraordinary, and stepping outside afterward, I was greeted by crisp autumn air, stunning foliage, and charming
historical architecture, making for a perfect day.

Confessions of a Shinagawa Monkey runs through December 8.
Seats are scarce, but I wholeheartedly recommend it!

ANONYMOUS
Nov 2024

The stage of the KAAT Main Studio is a simple space with a record player and a couch, that's all. As soon as the performance begins, it transforms into a magical space!

Words that reach deep into the heart, precise physical expression, a mysterious way of showing space and a monkey ......

Theatre can do this! Theatre can do this!

A 95-minute theatre experience where surprise becomes joy.

The realism expressed by the actors' bodies in front of your eyes and the sense of floating freely back and forth between time and space with the power of imagination. Don't miss the international co-production between KAAT and Vanishing Point Theatre Company, based on Haruki Murakami's novel ‘Confessions of a Shinagawa Monkey’, an unfulfilled love story!

It's a production full of theatre excellence, and we really hope that more people will enjoy it.

ANONYMOUS
Dec 2024

The lighting design was incredibly beautiful, and the meticulous movement of each performer made it clear that the production was the result of thorough and detailed rehearsal.
It was also the first time I had seen a bilingual play where Japanese and English blended so seamlessly. I found it particularly striking how the balance between the two languages gradually shifted as the story progressed. The universality of the theme of "names" resonated strongly, and I am already eagerly anticipating how this work will be received if it is presented overseas.

In addition to the actors' performances, I was deeply impressed by the overall quality of the lighting, sound, stage design, and scene transitions, all of which displayed remarkable balance and precision. The way the play combined two original stories and overlapped their timelines while enhancing Haruki Murakami’s unique worldview was especially noteworthy, showcasing the power of adaptation.

In the original story, the monkey is portrayed somewhat objectively, leaving the reader with an abstract sense of its existence and emotions. However, through Sandy Grierson’s portrayal of the monkey, I could tangibly feel the bittersweet reality of its life: being nurtured with care by the professor yet never given a name, and later relentlessly pursuing the name of someone dear to it. Together with Mizuki's story, the play left me with a profound sense of life’s fragility and the unresolved struggles of existence.

This is a piece not only for avid theater lovers but also for those who don’t usually engage with performing arts. I believe it’s a perfect work to demonstrate the power of theater and leave an impact on anyone who sees it.

Congratulations on the incredible effort put into this long-term creation. Thank you so much for sharing such a wonderful production with us.

FEEDBACK FROM OKEPI MEMBERS

Okepi Net is a Japanese website that provides a space for theatre enthusiasts to share ticket transfer and exchange information, performance reviews, and news related to the stage.

• I wanted to see it again after a long time. I read the interview and heard that the play was made in two countries, taking a luxurious amount of time. World premiere. Everything was interesting and it was truly a comprehensive art. The lighting was especially beautiful and made the world even more fascinating. The two languages also came in easily and without stress. The most interesting stage performance of Haruki Murakami's original work.

• I had read Haruki Murakami's original work and was looking forward to it so much that I re-read it. It was the first time I had been exposed to both a Japanese-British international co-production and to Matthew Renton's composition and direction. It was quite new and exciting and very interesting. The mix of Japanese and English (with subtitles) and the direction of the place-turns was magically beautiful. The physical expressions of the monkeys, their facial expressions, everything was truly ape. Fans of the original work will not be disappointed by this new attempt.

• Loss and loneliness are the themes of this film, which is typical of Haruki Murakami's original works. Deep. The actors are excellent, and the interaction between English and Japanese is very comfortable. Especially Shinagawa Saru! I was impressed by his body language, which was just like that of a monkey. The pacing was good and the transitions were good. To put it mildly, it was wonderful. I want to see it again.

• It was so good that I was shocked. The use of lighting and direction was sophisticated and I could feel the fantastic world of Haruki Murakami's works.

  I was worried about whether I would be able to enjoy the performance as it was performed in two languages, Japanese and English, but there was no problem at all. The show was 95 minutes long, but I was satisfied with 3 hours' worth of performance in such a short time.

  The performance lasted about 95 minutes. The production was very fast-paced and developed very quickly. The production was very fast-paced and developed very quickly. And the monkeys are more than monkeys. I read the original several years ago but didn't remember much about it, so I enjoyed it almost as a first.

• The movement of the monkey's tail was very attractive. It was a presence that more than made up for the monkey's words. The director's love for Haruki Murakami came through.

• A world created with infinitely low language barriers. I think there was a deliberate choice of which language to use. The power of the words is so strong that we are concentrated on them, so I felt the effects of the reduced equipment and lighting were very appropriate. The size of the theatre and the bench-like chairs were also appropriate. I felt there was a sense of humidity from the scenery that Japanese people would be able to visualise, and I would love to know how this would be received in the UK.

• I was fascinated not only by the story but also by the ‘way of depicting space’, which reminded me of Vanishing Point's masterpiece ‘Interior’, such as the closet scene. The way in which the two short stories, ‘Shinagawa Monkey’ and ‘Confessions of a Shinagawa Monkey’, move back and forth between each other and merge into one is brilliant. The wonder and sense of discomfort of everyone listening to the monkey's words while switching back and forth between English and Japanese will be a pleasure that only those who have experienced it will understand.

Photography by Shinji Hosono.