Inscrutable ’36 Views’ at playhouse

TOM TITUS

The world of high-ticket art -- and the authenticity of same --

provides some intriguing, if ultimately unsatisfying, material for

playwright Naomi Iizuka, whose “36 Views” is enjoying its Southern

California premiere at the Laguna Playhouse.

Iizuka weaves her story around the discovery of what might be a

major art treasure -- a “pillow book” by a Japanese courtesan of

about the 11th century. The word “might” is key here, however, since

this astonishing find actually may be a reprint of little monetary

value.

Arriving at the ultimate solution, however, is a gradual,

meticulous process as Iizuka’s characters thrust and parry verbally

through the first act before the gloves (and a few other things) come

off in the second. It takes a bit of sex and chicanery to kick-start

this mystery, since director Chay Yew’s production moves at the pace

of the kimono-clad denizens of Japanese noh theater who inch across

the stage periodically.

“36 Views” is presented in traditional Japanese format, punctuated

intermittently by the striking of two sticks together by one of the

actors offstage (but not out of sight). This action transpires not

only as a scenic transition device, but often interrupts a scene in

progress, ultimately becoming more of an irritant than an atmospheric

effect.

At the center of the play is Stephen Caffrey as an avid art

collector and dealer with an instinct for value and profit, as well

as a yen for an attractive half-Japanese investigator (Tess Lina),

who strikes some major emotional sparks late in the show. Caffrey

comes off as a sort of Indiana Jones of the art world, minus the whip

and the snakes.

Melody Butiu engages her audience as a young artist aspiring to

become a con artist who orchestrates the complicated caper.

She is joined by a striking blond journalist (Shannon Holt), an

investigative writer with a surprise agenda of her own.

John Apicella enacts a senior art expert whose considerable

credentials belie his culpability. The wild card in the deck is Jim

Anzide as Caffrey’s overqualified assistant whose outward naivete is

somewhat of a sham. His role in the overall scheme of things

undergoes continual alteration.

All performers impress, particularly Caffrey and Anzide, but fine

performances are insufficient to lend strength and substance to this

highly stylized production. More visceral interaction among the

characters at an earlier stage would give the play its needed

crackle.

In Japanese theater fashion, backstage workers appear periodically

to alter the scenic accoutrements and provide the bare necessities

required. As is customary, they rightly share a curtain call with the

actors.

Had Agatha Christie been born Japanese and not overly concerned

with murder most foul, “36 Views” might be the type of play she would

have conjured, replete with red herrings and characters who are far

from what they seem to be. Lagunans, however, many of whom are

citizens of the art world, may enjoy the show immensely.

* TOM TITUS reviews local theater for the Coastline Pilot.