“Unrivaled” Layer Upon Layer of Intrigue (With Fun!)

Alanah Pasqual, Pearl Lam, Adele Lim in "Unrivaled" at Seattle Public Theater 

Unrivaled
SiSProductions and Seattle Public Theater
Through June 2, 2024
 
The opening moments of Unrivaled, in a co-production between SiS Productions and Seattle Public Theater, immediately propel you into every aspect of Rosie Narasaki’s fascinating play about 1000-year-old Japanese writers Lady Murasaki and Lady Sei. Director Mimi Katano brilliantly sets the mood and the music.
 
Precise dance moves; specific use of fans; a gauzy, simple, effective set by Robin Macartney; and elliptical conversations that hint at layers beyond layers of meaning. These elements plus a trio of super actors create a 100-minute production that flies by.
 
Adele Lim starts to narrate the story as Empress Teishi with such cuteness it’s impossible not to laugh, but also demonstrates instantaneous ability to change her demeanor and after setting herself up as a ditz, also asks some of the very smartest questions in the script.
 
Teishi describes her court and the intrigue surrounding royal family secret and not so secret attempts at rising to the top. She shrugs her shoulders at the culture that marries off all the daughters to the rising sons as a way to keep power in the family. She details the most recent spate of deaths and successions. She also introduces how her court includes the smartest lady writers recruited to write and publish for an information-starved populace.
 
Interaction begins with a “job interview” of Murasaki (Pearl Lam) with Sei (Alanah Pasqual). Sei is already firmly ensconced in the royal court as a favorite writer. She treats Muraski contemptuously, claims she’s kidding, says she didn’t read any of Murasaki’s writing, claims she’s kidding, and generally introducing Murasaki to a most complex set of relationships, including her deep friendship with the Empress.
 
Pasqual and Lam pull us into the intrigue and immediately we are on guard regarding what to believe, ever, in this palace. Narasaki points to the way women are subjugated in the society, but also how they must maneuver in small spaces to have any agency. Is it possible to be real friends, really support other women's success, really trust anyone? Everyone knows that everyone has ulterior motives, and some even admit it!  
 
Mike Wu does a great job taking on Michinaga, an “uncle” who is angling to be the next to succeed. Sure, he’s already got several wives, but he’d like to have a relationship with Murasaki. He, too, provides layers of feelings and motivations. Does he really love Murasaki or is she a means to forward his rise and write propaganda for him?
 
Michinaga’s role is a supporting one, though. The trio of women show all the colors of female relationship – under those circumstances. Jealousy, love, loyalty, old friends vs. new, emotional manipulation. It’s a potent mix.
 
Narasaki sets the language very much in the now. A lot of jokes are current, a lot of vernacular is slang. Music (designed and composed by Josh Valdez) is current and movement choreographed by A. C. Petersen combines aspects of traditional and nightclub dance moves. Costume designer Jacqueline Edwards blends a beautiful lush traditional style with modern skins underneath.
 
I was mesmerized pretty much the entire time. By the end, I also found myself feeling quite emotionally attached to the characters. Also, very tense! Once you start realizing the kind of impossible positions this court twists people into, it inevitably reminds those of us used to European court stories how much those courts seem similar and how many other deaths or murders were a part of that (Anne Boleyn, anyone?).
 
This is a very exciting piece of theater. I hope you’ll take the recommendation to run and get tickets for the last weekend as soon as possible. I think it will sell out.
 
For more reviews, go to www.facebook.com/SeattleTheaterWriters. Please go to https://MiryamsTheaterMusings.blogspot.com and subscribe to get articles direct to your in-box!