The Ninagawa Company recently came to Lincoln Center to perform their adaptation of Haruki Murakami’s Kafka on the Shore. As soon as I saw posters start to go up, I was intrigued and knew I had to see it. How could you possibly turn such a dense and surreal book into a three hour play? The answer is – interpret, edit, adapt.
Kafka + Crow
Even the description of the play on the official website suggests it will have a much more straightforward plot than the book.
In a tale of two parallel journeys, 15-year-old Kafka and an imaginary friend run away from home in search of his estranged mother and sister and to escape an Oedipal curse. His journey runs side by side that of a fellow searcher—an old man with uncanny abilities seeking a magical stone he believes will offer divine guidance. As their odysseys entwine in modern-day Japan, reality, dream, and myth converge in an allegorical tale that resonates viscerally but resists logical explanation.
There may have been something lost in translation, however, because the play doesn’t even mention an Oedipal curse. Also, I would never have called Crow an “imaginary friend” – would you have? The play was entirely in Japanese, and we had to read subtitles off a banner on top of the stage. I’ve done this before for operas, but never for a play. After the first five minutes of adjusting, I hardly noticed and felt entirely absorbed in the play.
Johnnie Walker in his basement