Shinjuku Ryozanpaku Theatre Company is a Tokyo-based ensemble renowned throughout Japan and internationally for its tent-theatre performances, large-scale, elaborate mise-en-scene, acute comedy and unique stylistic brush-strokes. The company was established in 1987 and is led by charismatic director and actor, Kim Su-jin. Their latest work is based on the homonymous play by Jean-Paul Sartre, and, despite the fact that the cast is composed of Japanese actors plus Sahel Rosa, who is of Iranian descent, takes place in the South of the United States during the 40s.
“The Respectful Prostitute” is screening at InlanDimensions
The play begins with the intrusion of a “foreigner” in Lizzie's house, who is soon revealed to have been part of an incident involving two of them saving her from the harassment of four “locals”, with one of the four, Thomas, killing the other “foreigner”, and eventually being arrested. The other three, however, start spreading rumors that the “foreigner” who has just entered Lizzie's house, raped her, so that Thomas's action would actually be deemed justified. The “foreigner” begs Lizzie to tell the truth, and she agrees eventually, with him leaving immediately after. It turns out, however, that Lizzie, actually a prostitute, was “picked up” the previous night by Fred Clarke, the cousin of Thomas, who was hiding in the back of the apartment when the “foreigner” entered. Expectedly, it turns out that he had an agenda, while soon, the police, senator Clark, and Fred try to pressure her, with different ways each time, to lie about what happened, in order for Thomas to be let free.
Kim Su-jin directs a play that focuses on a number of issues that seem to have been tormenting humanity for a really long time. Racism is the first one here, extending to both people who are considered outsiders, but also from the rich towards the poor, with the former considering the latter “fodder” for any of their wheems. This brings us to the next comments, as corruption seems to derive from the cooperation of the rich with the politicians and the police, who create an inner circle that essentially dominates society, something that can easily be said for what is happening today also. Subsequently, that the people who suffer from being outside the “circle”, in this case a prostitute and the lower castes of society, end up becoming violent due to the suffocation the system imposes on them and the hopelessness that results from it, is the last comment here, showcasing how violence is created.
The main element that all these comments derive from is Lizzie, with the ways the rich, the police and the politician try to trick and micromanage her, highlighting all the aforementioned comments as the play unfolds. The last comment, which closes the spectacle, is probably the most impressively presented, with Lizzie's gaze, the intense music and the video playing ending it in the most impactful way.
Evidently, the movie benefits the most by Sahel Rosa's acting in the role of Lizzie, with her giving an outstanding performance, particularly due to the way she transforms from a kind woman to a victim and then something completely different, which is rather impressive to watch. Furthermore, her performance is one of the main sources of the tension that dominates the narrative, which also derives from the performance of Hisashi Miyazawa as the “Outsider” and Kenta Matsushima as Fred, with the latter accompanying Rosa in the best fashion, as the main villain of the story. Kazuto Shimamoto as the politician is another actor who steals the show,, both with his overall physique but also as the main source of comedy in the drama, with his performance providing a much welcome relief from all the tension, even if his role is that of another villain.
The aforementioned tension is also carried by the overall pace, which is quite fast for the most part, and also the music, which is well placed, adding without standing out, to the overall aesthetics here. Satoshi Otsuka's set design is minimalist but works well for the style of the play, allowing the story and the actors to shine. The door and the balcony in particular work quite well here.
“The Respectful Prostitute” is an impressive stage play, benefitting the most by Ki Su-jin's direction and Rosa's evident charisma, while highlighting how concepts like corruption and racism are both global and timeless.
