Sumo – Glimpse into a Cloistered World

Sumo- “striking one another”- pronounced Su-MO’, is full contact wrestling where one opponent tries to push the other out of a ring (dohyo) or any part of his opponent’s body other than feet touch the floor. Competitors employ pushing, tossing, striking, clinches and grabbing the 30’ wrapped belt. (mawashi) Balance, strength, and, classically, girth are required. The average weight of top division wrestlers has continued to increase from 276 pounds in 1969 to records of 500 plus pounds, though skill can apparently conquer size.

Grand Kanjin Sumo Tournament by Utagawa Kunisada 1846 (Public Domain)

Sumo mythically goes back to 712 when possession of the Japanese islands was decided in a wrestling bout between two deities. Human matches are said to have begun in 23BC in a fight to the death commanded by the emperor. During the Japanese Middle Ages, the contest was repurposed from a ceremonial struggle to a form of military combat training among samurai. By the 1300s, it became sponsored public entertainment for the masses.

Many rituals from what’s now considered Japan’s national sport are continued today. Some are represented in the play. Bending their knees the men raise one leg and stamp on the ground several times in order to “frighten the enemy.” Hands are slapped together to signify the beginning and end of a prayer.

Wrestlers (rikishi) are expected to live communally in a highly regulated life. Hair is grown and tied in a complicated topknot (chonmage) imitating medieval samurai. Only traditional dress may be worn outside the facility. Driving is forbidden. A regimen of no breakfast and large lunch followed by a sleep is intended to help wrestlers put on weight so as to compete more effectively.

Scott Keiji Takeda (Akio), David Shih (Mitsuo)

Eighteen year-old Akio (Scott Keiji Takeda), small by sport standards, has just arrived at a heya, or training stable for Sumo with stars in his eyes. At this point, he’s literally not considered human and is relegated to cleaning, kitchen, and serving duties. The young man is impatient and mouthy. One tournament away from ultimate championship, head wrestler Mitsuo (David Shih) harshly remands, discourages, and even strikes him for lack of respectful attitude. Akio is determined to stay.

The wrestlers are a brotherhood, all committed to the art whatever it takes, many spiritually connected. We see Akio rising in the ranks during successive national matches. Hierarchy is accepted. Pain is ignored. Kinesiology tape is observed. (The tape provides support, reduces pain and swelling.) Personal relations and compassion ferments conflict. It’s better, Mitsuo implies, to abstain. Akio struggles with this.

Red Concepción, Kris Bona, Paco Tolson, Ahmad Kamal, Scott Keiji Takeda

Ren (Ahmad Kamal) and Fumio (Red Concepción) are three years into a (beautifully handled) clandestine homosexual relationship the former celebrates, while the latter denies his own nature. Humiliating pandering to sponsors is clearly a necessary evil. The heya must be supported. Unfortunate incidents affect Shinta (Earl T. Kim) and So (Michael Hisamoto) with radically different consequences.

Lisa Sanaye Dring has written a play about honor, tradition, sacrifice, and conscience. It could be more dramatic and successfully not as long, but is adroitly produced and offers a fascinating scenario.

David Shih (center) and the Company

Director Ralph B. Peña sculpts movement (beyond the matches) like clay, depicting intention, power, and capability. Personalities are affecting. Pacing is excellent. Overall feeling of ceremony is deftly manifest.

Three Kannushi, divine masters (of ceremonies) – a kind of Greek chorus, and in one parentheses, Sponsors, are played by: Paco Tolson, Kris Bona, and Viet Vo.

Kris Bona, Paco Tolson, Viet Vo

In the talented hands of David Shih, Mitsuo seems imperious out of habit and the practice of mandatory persona. Human connection has long since retreated. The actor is a presence of elegance and ballast.

As Akio, Scott Keiji Takeda seems false in Act I and eminently solid in Act II. It was suggested to me that he might’ve been trying too hard to play a juvenile at first, a credible conjecture.

Ahmad Kamal affects particular grace in the expression of Ren’s emotion.

Wilson Chin (scenic design) and Hana S. Kim (projection design) create an evocative, aesthetic world surrounding the stark Sumo ring. Sound Design and Music Composition by Fabian Obispo admirably contributes not only connective tissue, but range from running water to cheering crowds. Costumes  (Mariko Ohigashi) are specific and share the stage well

Taiko Drum Composition and Performance (Shih-Wei Wu) adds powerful atmosphere. Sumo Consultant and Co-Fight Direction by James Yaegashi/Co- Fight Direction and Intimacy Direction by Chelsea Pace work splendidly to make the piece credible and fighting safe.

Casting requiring appearance and flexibility – especially lower body exercises, as well as acting talent – took over a year. Shih and Takeda, unasked, put on extra weight for their roles.

The production is remiss in not putting notes on Sumo in the program.

Photos by Joan Marcus

Ma-Yi Theater Company and The Public Theater present
Sumo by Lisa Sanaye Dring
Directed by Ralph B. Peña

The Public Theater 
425 Lafayette Street at Astor Place