Ako Dachs Archives - TheaterScene.net

Ako Dachs

Okuni: The Woman Who Created Kabuki

November 23, 2024

Ako's portrayal of Izumo no Okuni combines traditional Japanese dance movements with Western-style acting. The nature of the script limits the impact of her performance. The dialogue is simplistic, verging on a museum presentation. The story being told is too small for someone who is such a large character in the folklore of Japan. It is a story that calls for a larger cast to show the impact her dance and performance style could have on audiences. Okuni certainly did not dance alone, so what needs to be added is the pageantry and bravado of a fully engaged dance ensemble. Ako also portrays Lady Yodo, the mistress of the late Toyotomi Hideyoshi, credited with the unification of Japan that led to the establishment of the Tokugawa shogunate. [more]

Chushingura – 47 Ronin

October 24, 2022

It’s not clear what Amaterasu Za’s mission is. If, as Dachs’ program comments indicate, it is to bring Japanese culture to modern audiences, the company needs to be less stodgy and more contemporary in its approach to such vivid dramas as "Chushingura - 47 Ronin." If this production is representative of their efforts, Amaterasu Za is dedicated to first rate representations of high Japanese art. Their standards are high. Perhaps, Dachs and her company can figure out how to combine a reverence for traditional Japanese theater with appealing to a wider audience without sacrificing authenticity. [more]

Sayonara, The Musical

July 15, 2015

Although "Sayonara, The Musical" had an acclaimed lavish production at Paper Mill Playhouse in 1987 and a later version at Houston’s Theatre Under the Stars in 1993, it has not been seen in New York until now. Pan Asian Repertory Theatre, now in its 38th Season, is presenting the local premiere of the adaptation with its book by playwright William Luce ("The Belle of Amhurst," "Lillian," "Lucifer’s Child," and "Barrymore"), lyrics by Hy Gilbert and music by George Fischoff. Surprisingly, "Sayonara" has a great deal in common with "South Pacific": the exotic Asian locale, the fraternization between Yankee officers and Asian women, a tale of prejudice and bigotry, and two parallel love stories. Unfortunately, at this post Sondheim junction, the way 'Sayonara" follows the Rodgers and Hammerstein formula seems dated, while the material, based more on the movie than the original novel, has deflated Michener’s story by making it oversimplified and superficial. [more]