Mukashi, Mukashi, which translates to “Once Upon a Time”, is a creative tour-de-force that interweaves the poetic elements of Japanese folk tales with the dark and comedic undertones of Western fairy tales. The origins of the play, which is featured at the Theatre Centre in Toronto from September 24-29, stretch back to 2010, when director David Danzon was invited to Japan by Osaka theatre company KIO to participate in a collaborative project. What started as a touring partnership ultimately evolved into a personal relationship, and in 2018, the two organizations joined forces to create Mukashi, Mukashi.
The play’s genesis dates back to when Danzon’s daughter was three, and she began to tell him that she was afraid of wolves . . . even though she knew no stories about them. “I thought it was really interesting that this dark figure has entered our consciousness, even before we’re exposed to it,” explains Danzon. From this observation came Mukashi, Mukashi, in which he explores not one, but two iconic characters: the wolf from Western fairy tale Little Red Riding Hood, and the crane from Japanese folk tale The Gratitude of the Crane.
Mukashi, Mukashi shines not just in the content of its story, but also in the way it unfolds. For Danzon blends the mythical world of Japanese theatre with Western practices, creating a fusion of different forms. One of the traditional techniques incorporated is Bunraku, a Japanese art style where a puppeteer manipulates large puppets, accompanied by a singer and a musician. The team’s creative process is not merely transactional: they prioritize respect and authenticity when incorporating traditional art forms. So since Danzon has always been interested in incorporating humour into his productions (even his more serious works), the director worked closely with Japanese artists to strike a balance between paying homage to these traditions and engaging in parody. Drawing from Kyogen, a comedic interlude in traditional Noh theatre, and Western influences such as Looney Tunes and TV talk shows, Mukashi, Mukashi includes moments of levity that feel respectful, but fresh and innovative.
For Danzon, the most rewarding part of working on this production was precisely this kind of cultural exchange among the different cast members. He explains proudly how, throughout the process, the team constantly asked themselves if things were getting lost in translation. For him, Mukashi, Mukashi is about more than just its end result. The play is a testament to the power of theatre to create dialogue about cultural nuances and build community. So in this production, the process itself is a critical part of the story.
The brilliance of Mukashi, Mukashi is no accident: it is the almost inevitable outcome of Danzon’s journey into theatre. His first experience with the performing arts was in Paris, where he would watch his aunt’s street theatre performances. “I was watching that whole world unfold in front of my eyes,” he smiles, “and I think that’s where I caught the bug”. When Danzon then began to experiment with different theatre styles, he realized that most performances were rooted in a text, rather than the body. So he sought to learn more about physical theatre, which combines elements of movement with performance. This led to his creation of CORPUS, a theatre company that has been running for nearly three decades. Their focus? Bringing art to streets and public spaces, usually with little to no text.
Danzon’s journey from Paris to Toronto is a testament to his enduring commitment to chasing and pushing the boundaries of what theatre can be. Mukashi, Mukashi marks his return to the stage and to working with dialogue. Don’t miss the chance to witness his unique spin on two timeless stories, co-produced by CORPUS and The KIO Company and featuring the ensemble talents of Kohey Nakadachi, Sakura Korin, Takako Segawa, and Kaitlin Torrance. To reserve tickets, visit theatrecentre.org.
© Denise Albeanu, Sesaya Arts Magazine, 2024
