Michael Hisamoto with Gary Thomas Ng & Samantha Richert (photo: Mark S. Howard) |
Hold These Truths by Jeanne Sekata is a historical play about the internment of U.S. Citizens of Japanese descent in their own country during World War II; obviously, this was a national disgrace which could never again happen here.
As the current production by Lyric Stage Company, this
work stars Michael Hisamoto (a Japanese-born and Singapore-raised
actor) as Gordon Hirabayashi (of Japanese ancestry and Quaker
upbringing). It's the story of his defiance and patriotism in
resisting internment in camps. It also features three kurogos
(essentiallty stage hands, sometimes “invisible” manipulators
and dancers) in the kabuki and noh theatrical
traditions, played by Khloe Alice lin, Gary Thomas Ng and Samantha
Richert. Told by means of flashbacks, the story utilizes Hisamoto in
numerous roles, from his parents and college friends to military
leaders, Supreme Court justices, lawyers, prison bosses, and even
Hopi native Americans. As a Quaker, he believed that “God is in
each heart, not in a church”. His fifty years of effort resulted
in the exposure of the supposed need to detain “non-alien U.S.
citizens of Japanese ancestry” for reasons of “national
security”, to be ultimately the aftermath of hysteria and racism.
This was in part due to the unearthing of letters, memos and military
documents by legal historian Peter Irons. In this spare and stark
one-hundred-minute intermissionless work, a powerful lesson ought to
be apparent. Director Benny Sato Ambush likens this work to a
one-person show “with a cast of thousands”, since the character
of Hirabayashi is clearly representative of the huge number of people
affected by their unconscionable mistreatment. He further notes that
nativism and xenophobia (and consequent immigration laws) rear their
ugly heads cyclically. And as the playwright herself puts it,
“rather than be defeated by the America that was, (Hirabayashi)
felt that he had to say a passionate “yes” to the America that
was still to come”. As the powers that be finally had to admit,
“ancestry is not a crime”.
Michael Hisamoto with Samantha Richert, Khloe Alice Lin & Gary Thomas Ng (photo: Mark S. Howard) |
As Hirabayashi quotes his father: “the nail that's
sticking out is the one that gets hit”. Toward the end of the play,
Hirabayashi's earlier quote is expanded upon: “the nail that's
sticking out is the one that gets hit.....unless the hammer is
smaller than the nail”. Surprisingly funny at times, nearly always
profound and of course resonant, the play has great power. Its force
is dependent on the skill of Hisamoto, and he commands the stage,
first with his wide-eyed innocence, then with growing disenchantment,
finally with righteous anger. The production is choreographed by
Jubilith Moore, with Scenic Design (effectively using typical
Japanese screens) by Shelley Barish, simple Costume Design by Tobi
Renaldi, critical Lighting Design by Karen Perlow, and fine Sound
Design and Music Composition by Arshan Gailus and Projection Design
by Johnathan Carr.
As Hirabayashi noted, “we are here farther still from
where we ought to be”. Appropriately, President Obama awarded him
the Presidential Medal of Freedom in 2012, unfortunately, a
posthumous recognition, given as it was just months after his death.
And, of course, as noted above, in our more enlightened times, it
can't happen again here. Oh, wait.....
You would do well to revisit this ever more timely era,
to be presented through December 31st.
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