Another Day at the Office

It is another day at the Kazenoko office. The producers are at their desks in one room, busily working away (an operation which is expertly conducted by the Mother Theresa like Suehiro-san). A bunch of the younger Kazenoko actors are in the rehersal/ meeting room (where we had the party the other night) carrying out a mega mail out ... there is something comforting about the fact that no matter how much technology progresses, the best way to conduct a mail out no matter where you are in the world is with a chain of people folding, stuffing and stamping.

I have come to meet Asano-san to discuss my schedule and find her at the kitchen sink, having a cigarette. It turns out the schedule that she has prepared for me involves a lot of travel. I will be following various Kazenoko Kyushu plays around the island, first of all travelling with Furato Burato to Oshima and Kagoshima. Then I will return to Fukuoka (where Kazenoko Kyushu are based) to conduct a clowning workshop for the company members (feeling a bit daunted about running whe workshop in Japanese but I am sure we will get by... it is clown afterall!). And following this I will travel to Nagasaki with Nan Nan Nande Man and then head up to Tokyo with the company where I will get to see Peekaboo as well as The Day His Watch Stopped (to be presented by visiting Korean Theatre Company, Sadari).

While Asano and I have our very casual meeting, various company members come and go (we are in the kitchen, after all). Suehiro comes in at about lunch time and asks it I have eaten `mada desu` (not yet) I say and she offers me an `Obentoo` (lunch box) she has prepared for me; I cannot refuse. We are joined by young producers Igarashi-san and Mei-san as well as accountant Emi-san. Everyone opens their Obentos and as we eat we chat about non theatre things. It feels like lunch time at the deBASE office back in Brisbane.

After lunch I am joined by Hayashi-san who has brought the Kijimuna Festival Program with him. This is the International Children`s Theatre Festival that I will be attending in Okinawa from 1- 10th August. Hayashi-san will also be attending the Festival and is keen to help me select the shows that I plan to see before they book out. The only problem is the program is in Japanese and it is hard to understand (whilst I can speak the language, reading is a whole other world of difficulty because of Kanji). Hayashi-san, who speaks Englsih and seems to work unofficially as the international relations manager for the company, attending festivals all over the world, tells me he will phone the festival and ask for a program in English.

The next　day when I arrive at the Kazenoko office, there is a progam for the festival, translated into English waiting for me on the kitchen table. I ask, `Is it from the festival?` and Sue-hiro san says `Chigau, Kore ha, Hayashi - san ga Tsukutta Program` (No this is one that Hayashi- san made for you). It seems that after I left the office yesterday, Hayashi-san spent the afternoon, translating the program for me.

Somehow, I don`t think a stuffed kangaroo made in China will be the right present for Hayashi-san, I might need to look deeper into my backpack of treasures to find a way to thank him.

One Big Family

I have only just arrived in Fukuoka and already the hospitality shown to me by Kazenoko Theatre Company is overwhelming. This is approximately (I have lost count) my seventh trip to Japan so you would think that I would be getting used to the way that the Japanese go out of their way for Western guests, however, it never ceases to amaze me. Maybe this is because they always underplay the special things that they do for you, so when they happen they are a great surprise.

Asano-san, meets me at the airport on Sunday night and informs me on the drive back into town that the following few weeks would be a ‘hardo scheduru’. By the way, many English words such as these have made their way into the Japanese language…which makes life a little easier when you are lost for vocab…simply say the English word in a Japanese accent and you have about 50% more chance of being understood. My 'Hardo Scheduru' will include travelling with Kazenoko's shows to Kagoshima, Nagasaki, and a small island, ironically called 'Oshima' (Big Island).

As Asano-san helps me with my luggage into the apartment block , she says ‘Ashita yukuri yasunde kudasai’- please rest slowly tomorrow. She then adds, in Japanese, “And then come to the Kazenoko office at 5pm for a small meeting with the members.” I thank her for greeting me and we say 'Oyasuminasai' (goodnight).

After a day of soaking up Japanese TV convincing myself that it as effective as studying my textbook, I make my way to the Kazenoko office, carefully following the directions that Asano-san gave me. It is an easy twenty- minute walk from my apartment through a really fun part of town- many funky shops, fresh fruit stalls, 'Izakayas' (bars) and resturaunts. Just as I think I am almost there, I realise I am totally lost, but thankfully and kind of magically, Asano-san appears from nowhere on her bicycle to rescue me.

She shows me to the office which, as it turns out, is a big old house (same as Kazenoko in Tokyo). The offices are down stairs, with a small rehearsal room and I learn later in the night that company actor Jiro's 75 year old mum lives upstairs and another member's 27 yr old son lives in another part of the house. At this stage I started to suspect that maybe Kazenoko is one big family.

I follow Asano-san into the house, taking off my boots and climbing into the slippers she provides. I am relieved to enter the air conditioned office, it is very, very hot and sticky outside, it seems I have arrived just in time for 'Tsuyu' (the wet season). Everyone is still working at their desks and stop to look up at me. Feeling bad that I have interrupted, I bow to the room and say 'Minasan, Hajimemashite!' (Nice to meet you all!). I receive an instant round of applause, and one by one, I am greeted with personal introductions, bows and business cards. How will I remember all these names?!

Then after ten minutes, thinking that I have met everyone, I am shown into the rehearsal room where there is a sign 'Yokoso Rizu Sukichi to Kimu Bokyun -san' (Welcome Liz Skitch and Kimu Bokyun) and big spread of food and drinks. I am greeted by President Kariya-san, who then introduces me to Bokyun -san, who is currently visiting from Korea promoting her show “Tokei Tomatta Hi” (The Day the Watch Stopped) and will soon be joined by the rest of her ensemble, 'Sadari Theatre Company'. I discover that I will get to see “Tokei Tomatta Hi” both in Tokyo and at the Kijimuna Festival in Okinawa. It is a co-production between Sadari Theatre Company and Kazenoko. I look forward to finding out more from Bokyun-san over the coming weeks about her company and the show’s journey from its birth (four years ago) to its current tour of Japan.

The room then fills with the company members (there are 23 at the office today). And once drinks are organised for everyone, we 'Kampai!' (Cheers!). Then one by one, the members introduce themselves. I recognise Hayashi-san, the very friendly older manager who speaks English from the ASSITEJ festival, which we attended in Adelaide in May last year. It turns out that he is married to Suehiro-san, the lovely lady who has been organising my trip (we have exchanged many e-mails over the last few months). Suehiro-san already feels like my 'Okasan' (Mother), inquiring throughout the night about my health and telling me many times to take care not to catch a cold.

I also recognise the cast of “Nande-man”, who I met in Tokyo last year, Mari-san and Koike-san. Mari-san shares the story with the group about how last year after seeing their show that I told the cast that I had laughed so much that I nearly wet myself- it is a bit of an embarrassing story but is greeted with another round of applause. Thank goodness this company has a sense of humour!

Then it is my turn. I harness by best Japanese (now aided by the beer I have been consuming) to tell the group about my company's approach to performing and directing which is inspired by my teacher, Philippe Gaulier. I believe if the actors are having fun on stage then the audience has fun watching the show and that is the most important thing in theatre. I then say that this is why I love the work of Kazenoko- because of the joy in their work (or as Gaulier calls it in French, “Le Jeu”). And finally “I am here to learn as much as possible about how Kazenoko creates plays, how you have sustained as a company for 59 years and how you adapt your work for an international audience."

We 'Kampai' again, this time I suggest a “Cheers Mate” and the night rolls by. Eating, drinking, conversation and LOADS of laughter. We talk theatre, we talk comedy, we talk politics and we even end up improvising and miming eating our favourite foods for each other!

At about 11pm Suehiro-san emerges (she has been working in the office) and in her warm and motherly fashion and suggests it might be time for us all to go home. Like good children, we do as we are told, pack up and say our 'Oyasuminasais (goodnights). This confirms my suspicion, Kazenoko Kyushu really is ONE BIG FAMILY.