In characterizing the event as “a tragic act of violence,” the press release for the World Premiere production of Calling Aphrodite suggests that the United States was responsible for the horrific injuries and deaths resulting from the bombing of Hiroshima in WWII. Never mind the truth that the bombing was absolutely necessary to end the war against a then vicious enemy and resulted in the saving of countless lives by virtue of its decisive finality. So I prepared myself for the politically correct worst.
Come to discover that the play itself, by Velina Hasu Houston, is surprisingly balanced in its treatment of blame, which takes a back seat–way back–to the more central themes addressing the true natures of love and beauty.
In Calling Aphrodite, Houston examines the striking philosophical transformations of two fictitious sisters, both severely disfigured in the bombing. Shizuko (Vivian Bang) and Keiko (Kym Hoy) are intended to represent members of the group of 25 such Japanese women who were invited to the United States in 1955 to undergo better plastic surgery than was available at that time in Japan.
In almost all of the cases, the reconstructive surgeries were a success, improving the appearance and dexterity of the women beyond expectation. But again, Houston is far more interested in the emotional healing, which she finds was badly needed on both sides.
Indeed, the (again) fictitious American surgeon in the play, Dr. Everett (Barry Lynch), has experienced his own personal tragedy in the war. So if Calling Aphrodite takes its cue from real events, the “Hiroshima Maiden” project, as it was nicknamed, became a way for both the U.S. and Japan to begin to heal each other and pave the way for better future relations.
The play begins its exploration of beauty and love with Keiko’s idolization of her own abundant beauty as well as love’s romantic ideal, and of her admiration of Aphrodite, the Greek goddess of both love and beauty. The wise and maternal goddess knows that Keiko’s view is one of stubborn youth and immaturity. Keiko cannot be convinced, however, for the ideal permeates her entire being. She is, therefore, far less prepared than the far less idealistic Shizuko for the bombing’s devastation.
Japanese surgeon, Dr. Matsubayashi (Blake Kushi), who faces his own physical challenges as a result of the bombing, nevertheless serves as an optimistic and steadfast catalyst for the project’s fulfillment.
As always, ICT’s production values are flawless, with a well-chosen cast and insightful direction by artistic director Shashin Desai.
If only Calling Aphrodite would furnish an element of surprise somewhere, anywhere, in its well-paced two acts–something the audience might not imagine on its own. Alas, there was nothing unexpected or riveting to deeply move us, however poignant the play’s story. As the drama’s action came to a close, I couldn’t shake the feeling that something was missing. Disappointing considering the possibilities.
Calling Aphrodite continues at International City Theatre in the Long Beach Performing Arts Center, located at 300 East Ocean Boulevard, through September 23. Performances are Thursdays, Fridays and Saturdays at 8 p.m.; Sundays at 2 p.m. Tickets are $32 and $37 on Thursdays; $37 and $42 on Fridays, Saturdays and Sundays.
Call (562) 436-4610 for information and reservations or visit ICT’s Web site at www.ictlongbeach.org.
