Call Me Komachi by Christie Nieman
fortyfivedownstairs, July 22 to August 3, 2003
Reviewer: Kate
Herbert
The global social phenomenon
of women's beauty as a commodity is the subject of Call me Komachi.
Although the three
women written by Christie Nieman and played by Kaori Hamamoto are Japanese, we recognise similarities to
our own culture. Kinu, a sweet innocent schoolgirl, finds a new
best friend, Reika , in a new city at her new school. Reika has already lost
her innocence. She has chosen "Enjo Kosai", a sponsored relationship with an older
businessman.
This distressing
form of sexual usury of young girls became common in the mid-90s in Japan.
Young girls leave their details on a message line and men call and select one
to be their protegee - or victim.
Reika is cheeky and
charming. Her daddy adores her and calls her Komachi, the name of a great
beauty, a famous Japanese courtesan. Reika can indulge
her obsession with Valentino and
Vivian Westwood haute couture with finance from her middle aged sponsor.
Reika's attitude
alters when she realises she can no longer avoid sex with her sponsor at one of
Japan's Love Hotels. He pays for
her time and company. That means sex at lunchtime.
The third character
is a traditional Geisha. "I
was born a hundred years to late," she pines. She paints her face in the mask
of the Geisha, performs her Tea Ceremony. and reveals her sad, secret love.
This woman is an
object, the manifestation of "iroke", man's sexual fascination with
woman. Iroke focuses on the fragile impermanence of "beauty on the point
of collapse."
Kinu is the child
yet to become the object or victim of the male gaze that Reika and the Geisha
are. Kaori Hamamoto, a Japanese
woman who studied acting in Australia, plays all three characters
consecutively. She is convincing,
particularly as Reika, the naughty provocative fashion victim.
First time director,
Miki Oikawa allows Nieman's
monologues to take the focus. The problem is that there is little stage action
and sometimes too much talking. Unfortunately, when the
Geisha paints her face we are unable to see her or hear her clearly.
Although Call me
Komachi is theatrically limited, it is a fascinating glimpse into one part of the
world of women in Japan.
By Kate Herbert
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