The Iridescent Stage of Aya Kawakami
Echoes of the Future
In the simmering twilight of an early June evening, Nagoya's Nanatsudera Kyodo Studio stands on the verge of transformation. The air is thick with anticipation as shadows lengthen, and the theater awaits an expectant audience. Aya Kawakami, a seasoned artist, steps into the spotlight and surveys the stage of "Betrayal" with a wry but knowing smile.
Though this scene unfolds in the near future, Aya knows exactly how she arrived there...
It Started In Singapore
Aya Kawakami's journey to that stage began in Singapore, where she was born to British and Japanese parents. Her life, a captivating fusion of East and West, led her to join a song and dance club on a whim. This casual foray ignited a fierce passion within her. Cast as one of the Von Trapp children in an opulent production of "The Sound of Music" at the Victoria Theatre, Aya's heart pounded with exhilaration.
Aya's journey took a turn during her college years when she assumed the role of musical director for a show. This pivotal experience shifted her focus from acting to directing, allowing her to nurture talent and help others shine.
"As I directed, I discovered that I love world-building- using my imagination to find new or nuanced ways to tell a story, to bring the primary feelings I had when I first read a script to life for the audience."
Before forming Theatre Iridescence (TI), Aya had already dazzled audiences with her magnetic performances, notably as Puck in Nameless Theatre's rendition of "A Midsummer Night's Dream." Jessica Robison directed Aya in "Nagasaki Dust" for KAN劇 Theatre and the independent production "Snow Angel" before directing her in Transit.
Aya Kawakami as "Puck" in Nameless Theatre's "A Midsummer Night's Dream."
Refractions of Destiny
The creation of TI began with a pivotal conversation with Denise Hewitt. After their inaugural show, "Transit," she and Denise stood among the remnants of their hard work, reflecting on their success. At that moment, Aya realized that Denise's unwavering support had empowered her all along. An overwhelming sense of gratitude and love for the woman who had helped turn her dream into reality washed over her.
"The spark for the actualization of TI came from a conversation I had with the amazing Denise Hewitt who asked me one day what my dream was. When I told her about TI, she said to me that she would absolutely help me to achieve that dream. And she did."
Aya went on to found TI with the intention of creating a space that mirrors the iridescent phenomenon, where diverse perspectives and cultures come together to produce a vibrant, ever-changing evolution of stories and performances.
As a half-Japanese woman, she envisioned a theater group that embraced a multicultural perspective, fostering a collaborative space for people from diverse cultural backgrounds to reinterpret new and old stories.
Through this construct, Aya sought to infuse her productions with the evocative nature of iridescence, ensuring that each performance would reflect the dynamic and multifaceted essence of human experience.
A Transitional Impact
The debut of TI in 2017 was a call for diversity and representation. Aya captivated audiences with her dual role as composer and performer in "Transit." The musical, directed by Jessica, featured Aya's honest and impactful music. Though the play's honesty was unsettling for some, it highlighted Aya's significant influence on the community.”
"I intended Transit to reflect the lived experiences of expats living in Japan in the late 1990s and early 2000s. The story and characters were an amalgamation of all the people I had met and the stories I had been told or overheard over the years. While I used elements of my own life, what Transit had to say didn't come only from me but was a window into the lives of my community."
Each TI production stands on its own merits, exploring human relationships across cultural backgrounds. Productions like "Transit," "Medea," "Speaking in Tongues," and the upcoming "Betrayal" highlight TI's commitment to blending global narratives and showcasing how classic tales can reflect modern dilemmas.
"I have never thought of theatre as a vocation. Theatre is a medium that deals with truth, honesty, and vulnerability."
But TI's journey is more than a series of plays; it is a transformative force. In the heart of Nagoya, amidst the clash of cultures, Aya and Theatre Iridescence stand for innovation and inclusion, proving that the stage is indeed a place for all. The unfolding story of TI mirrors the transformative power of art in society, breaking barriers and achieving new realms of understanding through resilience and creativity.
The Women Who Brought TI to Life
Theatre Iridescence's success is thanks to many talented women. In addition to the inspirational Denise Hewitt, Mari Miyamoto managed early productions, and Rie Ando's translation skills ensured clear communication. Louise Corry flawlessly managed productions, and Jessica Robison (now Aktas) confidently directed "Transit" and took on the challenge of playing Medea while Aya directed TI's second show.
Sophie Goto excelled as an editor and designer, shaping the visual identity of the productions. Florence Smith and Sarah Mulvey provided essential emotional support, bolstering Aya's leadership and fueling the theater's growth.
"Betrayal" and TI's Comeback
From June 7th to 9th, Theatre Iridescence will stage Harold Pinter's "Betrayal," exploring themes of connection and disconnection amid significant social change. Set in the 1970s UK, the play examines the ongoing struggle for women's equal rights and societal status, drawing striking parallels to contemporary Japan.
Though set in a different era, TI's performance raises timeless and complex questions for today's audience. How do we navigate relationships in an ever-evolving society? How do cultural and societal expectations shape our personal connections? How do themes of loyalty, honesty, and deception transcend different cultures and periods?
As the cast and crew prepare, excitement in the community is palpable. We eagerly await another groundbreaking chapter in TI's inspiring legacy. "Betrayal" promises a thought-provoking, emotionally charged performance that will leave audiences reflecting on universal themes long after the final curtain falls. This production is more than a play; it's an exploration of the human condition through diverse experiences and perspectives.
Coming in 2025!
While this production has ended, we all look forward to the next production by Theatre Iridescence: Eurydice by Sarah Ruhl coming August 2025
Theatre Iridescence plans to present Sarah Ruhl's "Eurydice" at the Chikusa Playhouse in August 2025, marking their first collaboration with dance troupe Jazzcolle. The production promises to blend dramatic storytelling with innovative choreography as it explores this haunting retelling of the classic myth through its heroine's perspective. The partnership aims to bring new depth to Ruhl's poetic underworld and its meditation on love, memory, and loss. For more information, visit www.theatreiridescence.com.
Betrayal Performace Details
Dates
June 7-9, 2024
Show Times
• June 7 (Fri) at 19:00
• June 8 (Sat) at 13:00 & 18:00
• June 9 (Sun) at 13:00 & 17:00
Tickets
• Advance: ¥2,500
• At the Door: ¥3,000
Book Now!
Secure your tickets HERE and witness the nuanced portrayal of Betrayal and the human condition.
Venue
The Nanatsudera Kyodo Studio is just a short walk from Osu Kannon and Kamimaezu Stations.
MAP
For more information about the upcoming production, click HERE.
Contributors
Doug Breath
Sarah Mulvey
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