24 October 2015.
The Cambridge Junction presented a double bill of dance pieces last week by the James Cousins Company, and when I found out that the show was based on the novel Norwegian Wood by Haruki Murakami, I went to buy the book a few days beforehand. The first, longer piece is called Without Stars and the second, shorter piece There We Have Been.
I only read the first two chapters before seeing the show, so I had the interesting experience of being told one story across two different art forms: it began as words and continued as dance. The second piece was a retelling of the story from a different character’s perspective, so it felt like seeing a single thread of story, refracted.
The performance begins with the dropping of complete darkness in the theatre, which felt like being washed with black, while a metallic, dystopian roar sounded. And then the roar stopped, and the stage lights came up to show us three people dancing to a scratchy, vintage record, ‘You Always Hurt the Ones You Love’ by an old crooner. Love, hurt and memory are the themes of this story by Murakami.
The main character is a young man called Toru, who is in love with Naoko, who was the girlfriend of his best friend, Kizuki. The plot bombshell that drops in the second chapter is that Kizuki committed suicide just before they all left school to go off to university. Toru and Naoko embark on a romance that is inextricably bound up with Kizuki’s death.
At this point, I moved from discovering the story in words to discovering it through the dance. The staging played constantly and thoughtfully with light and shadow, and the dancer playing the part of Naoko, Chihiro Kawasaki, would dance alone in patchy low light so that flashes of a sinewed leg curved into a shape of perfect beauty would be both there and not there. This was a significant foreshadowing, as well as an evocative portrayal of the aching tension in the two lovers’ relationship, with Toru trying to keep Naoko in the world, in the present, via his love, as she brokenly drifts back again and again to the memory of Kizuki, to the past. It was also a beautiful way of exploring Murakami’s play with the idea of memory, and how it can be there and then…not there.
The first piece feels like it is told from Toru’s perspective, and it travels through different moods of love, depicting tenderness, sensuality, longing, and the ravages of loss. The four dancers – portraying the two main lovers, the memory/ghost of Kizuki, and another lover for Toru – twist and tangle together in patterns that form, break apart and reconfigure, melting into each other with luxurious tactility and an ethereal grace, the lightness of which felt symbolic of the emotional realms of loving. The depiction of grief is stark and powerful: Kawasaki curls and caves her chest as if shockwaves of grief are resounding through it, and her face is a perfect, shocked, mad blankness during Without Stars, as if her spirit has been spun away from her body by this trauma, and she is not really there as Toru tries to save her, to bring her back by loving her.
The second piece There We Have Been reflected differently on the novel, and I enjoyed the ambiguous energies of the way the two different perspectives combined with each other. This piece allows us into Naoko’s inner world, which is so poignantly impenetrable in Without Stars. In this piece, she tenderly returns Toru’s love. There is much more light and hope, with a bright horizontal beam of yellow light shining on the dancers portraying Naoko and Toru, and this time Kawasaki gazes lovingly at the dancer playing Toru as he holds her up, supporting her in various ways while she turns, contorts, climbs up and out, it seems, of this world. It feels as if this second reflection of the novel looks upon death with a gentler existential gaze, seeing it as a transformation, and something peaceful, in contrast to the agonisingly dark portrayal of it from Toru’s perspective in the first piece.
I really enjoyed this show, and I felt quite dreamy, sated and contemplative by the end of it. I would have happily drifted out of the theatre and home in solitude. But the lobby after the show was like a pinball machine of friends as I headed for the door, and each of them gave me their impressions of the piece. To each person I asked, ‘Have you read the book?’ And so I collected refractions of perceptions of this story that came to me already refracted. One friend said that he didn’t engage with it particularly well, but then he paused and wondered if that was because he had something else on his mind. He said that he hadn’t read the book but pointed out how important it is for the work to stand on its own. I agree, and it made me consider the power of allusion and the way our prior knowledge affects our perception of any piece heavily drawing upon another work.
Another friend said that she thought the show lacked dynamism, that it played out within too narrow a frame of expression. She also hadn’t read the book. I thought a lot about this and came to the conclusion that I agreed with her, too – because although I deeply enjoyed the expressions of the show, I could see that I already had the frame of the story in my mind – setting, characters, plot arc and themes – and they weren’t all really fully brought to life by the two pieces; part of my exhilarated admiration for many of the artistic choices came from already knowing what aspect of the original they were drawing upon – dancing with. My imagination, via the power of imported allusory material, supplied what the dance did not always provide in its separate act of storytelling. But then a third person I spoke with who had not read the book was completely, utterly besotted with the piece.
Allusion is tricky artistic material to work with… I’ve always been fascinated by it – it calls to me, too. The specific beauty of a particular piece of art is such a seductive, beckoning thing. It is compelling to want to explore, play, dance with these beauties – to pay homage, to unearth seams of gold laying unexplored in the original, to import, reflect, re-consider. Without Stars/There We Have Beenreflected much beauty and depth in its dance with another artwork, and my response was more towards the besotted end of the spectrum, and so perhaps some of this difference in perception we need to consign to the question mark that spins at the intercepts of the axes of personal taste and quality in artistic expression.
This essay was published originally in Exeunt Magazine on 24 October 2015.