Director: Kazukiyo Nishikiori (錦織一清)
In the realm of theater, where the alchemy of performance and narrative blend, it’s a rare treat to witness a maestro like director Nishikiori orchestrate a piece with such finesse and bravura as he has with “Kamada March Finale.” The play, a densely woven tapestry of dialogue, might seem a daunting trek for the uninitiated — a solid 135 minutes without the traditional respite of an intermission. Yet, under Nishikiori’s adept hand, this potential challenge morphs into the play’s most striking triumph.
“Kamada March Finale” unfolds like a complex melody, with Nishikiori leading his ensemble cast with the precision and passion of a symphony conductor. Each performer seems acutely attuned to his baton’s silent command, their delivery pitch-perfect, their timing impeccable. Where one might anticipate audiences’ restlessness to grow without an intermission, Nishikiori deftly introduces a short, playful skit — a stroke of genius that revitalizes the audience. This interlude’s light-heartedness belies the strategic sophistication with which it bridges the two acts, serving both as a narrative connector and a clever device to refresh the audiences’ engagement.
Perhaps the most visually arresting element of the play is the intense sword fight scenes that punctuate the production. Here, Nishikiori’s background as a dancer is most evident; the combat flows with a grace and a rhythm that is almost balletic. The clashing of swords is not merely a clash of metal; it is a dance, a visual spectacle that complements the dialogue-driven drama with a pulse-quickening tempo.
It is said that the true test of a director is not just in the assembling of a talented cast or the meticulous crafting of stage design but in the ability to push the boundaries of what is possible in theater. In “Kamada March Finale,” Nishikiori does just that, challenging the conventional wisdom that a play must conform to the ‘magic 90 minutes’ to keep an audience captivated. With a seemingly effortless charm, he has stretched the limits of our concentration and rewarded us with a piece that is as engaging in its final moment as it is in its first.
Only a dancer, with an innate understanding of rhythm and space could have achieved this masterful level of staging. Nishikiori’s direction is a choreographed spectacle, where every movement, every line of dialogue, and every scenic shift feels intentional, fluid, and harmoniously interlinked. The result is a theatrical experience that is not just watched but felt — a symphonic blend of motion, emotion, and storytelling that lingers long after the final bow.
“Kamada March Finale” is a testament to Nishikiori’s visionary approach to theater. It’s a production that challenges conventions and enriches the audience with its inventive structure and dynamic execution. If you have the opportunity to see this play and if it resumes again after November 12, 2023, do not be daunted by its length; instead, be ready to embrace a rare kind of magic, the kind that can only be conjured by a true maestro of the stage.
