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| A moment in Sheathed (Joe Iano Photography) |
Sheathed
Macha Theatre Works
(at Theatre Off Jackson)
Through March 24, 2019
An epic struggle of philosophies – vengeance versus
reconciliation – plays out on stage at Theatre Off Jackson in Maggie Lee’s world premiere play, Sheathed! Powerful women, highly trained
in sword combat, debate and spar, verbally and physically, about whether it’s
better to follow through with the honor-code of vengeance or if the world is
better off trying to accept prior battle-strife and the thousands of dead
combatants in order to build a more lasting peace.
The feeling of the play is akin to the science-fiction
fantasy on the shelves of your local bookstore. By the end of the play, you’re
pretty sure that Lee’s premise is that vengeance doesn’t work out so well, but
the journey is one great ride, with a lot of laughs sprinkled in to leaven the
debate.
Ren (Ayo Tushinde)
is a young woman on a quest to find and duel the last of five generals who she
believes conspired to betray her father-general during an epic war. She meets
Bala (Sunam Ellis), a veteran
fighter from the recent war, who can hardly be bothered to associate with the
young quester, but grudgingly agrees to travel “in the same direction.”
Bala has her own quest to manage, besieged by the ghost of
her dearest friend (Natalie Berg).
Bala had promised to find her and so far has failed.
Along the way, they meet a band of actors who act out the
war to gain them enough coin to keep going. When Ren accidentally wounds one,
she must take over the role to make amends. The two travelers wander with Riza
(Isis King), the doctor and leader,
Miro (Fune Tautala), the theatrical
manager, Sori (Maile Wong) and Tae (Dylan Smith), the actors.
More details of the story would simply reveal too much of
the story. It’s best to read the book – oops, see the play – yourself!
Directing by Amy
Poisson, whose association with Lee is long and deep, means that a strong
mind-meld between writer and director creates solid choices for what the
technical requirements should be. A wonderful musician, Leanna Keith (augmented by sound designer Joanna Melamed), provides both background music and sound effects
that are crucial to certain moments.
There are some moments where the characters must move at
faster than human speed and a flute sound effect creates just the magical
assist to allow our minds to perceive it that way. Similarly, deep drum sounds
create the sense of pending doom or the sonorous moves of ritualistic battle
preparations.
Spare set designs with a small bridge, large rocks, a silky
cloth river, and some Asian-style backdrops (by Parmida Ziaei) allow for instant changes in location and a sense of
travel. Lighting designer Ahren Buhmann
creates subtle shifts in time with gentle changes.
Costumer Jocelyne
Fowler is also no stranger to Lee plays, and provides clearly-imagined and
well-executed costumes for the world of continuity needed. Fight director May Nguyen Lee choreographs exacting
battles with real weapons that demand a high level of conscious sword-play for
the actors not to get hurt!
While every actor here does a terrific job, Ellis’ grumpy,
unprepossessing and gives-no-fucks Bala is just a joy throughout. If Lee needs
another idea for a series, I would be so down for more Bala stories!
As Lee has already demonstrated through her world premiere
series of steampunk plays, she is a playwright to be reckoned with. Don’t miss this
super show!
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