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The Damask Drum Mishima in the City: Performed by The damask drum Knoepfler and Mary Sitarenos. Robert Draffin has been working quietly in Melbourne, evolving his unique practice, for around three decades.
And his production of Yukio Mishima's play, now on in an anonymous warehouse in Abbotsford, deserves to stand with the best of the work I saw at the festival. In the countless productions he has overseen, Draffin has never been afraid of ambition.
Infor example, working with the young troupe Whistling in the Theatre, he created a magnificent six-hour adaptation of The Thousand and One Nights at Anthill one of the small-to-medium theatres that disappeared in the Australia Council's last orgy of cultural vandalism.
Or there was his epic Theatreworks production of Dostoevsky's novel The Idiot. More recent work includes a celebrated production of Genet's Le Balcon at the VCA, where he has been teaching some of the young theatre artists who are putting so much zap into the Melbourne scene at present.
I confess, gentle reader, that it's been a long time since I've seen Draffin's work.
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Like Peter Brook or Ariane Mnouchkine, he works with a committed ensemble of artists, creating the long-term relationships that are the core of great theatre: Funded, perhaps it ought to be noted, by no one except the artists themselves. Again like Mnouchkine and Brook, his work is deeply concerned with cross-cultural exchange: And as with Mnouchkine, entering his theatre is to be welcomed into a democratic social space where, until the performance begins, no distinction is made between artists and audience.
When you arrive at The Damask Drum, you are ushered to a carpeted space at the back of the warehouse, behind the stage, with cushions, low tables and flowers. Where Mnouchkine provides dinner, Draffin makes you green tea. And there, perhaps, the resemblances end.
Unlike these two theatrical superstars, Draffin's company, Liminal Theatre, is not extravagantly funded; and Draffin's practice is all his own. The Damask Drum is, in fact, the second instalment of a larger work, Mishima in the City: Duets of Desire, which aims to perform all eight of the plays Mishima adapted from the classical Noh canon.
Mishima's play updated Zeami's Aya No Tuzumi, which tells the story of an old gardener who glimpses a princess and falls obsessively in love with her.
Mockingly, she gives him a drum made of damask, and says that if he can make it sound in the palace, she will visit him. Of course, the old man can't make any sound at all from the drum, and drowns himself in despair.
After this, the "angry ghost" of the old man "possessed the lady's wits, haunted her heart with woe". In Mishima's version, the woman, Hanako, lives in an apartment block opposite the old man, Iwakichi, and he has to make the drum sound above the city traffic: Draffin has fused Mishima's and Zeani's texts to create a kind of collage, in which sound and song play as significantly as semantic sense.
When the plays were first performed in Japan in the s, they were produced in a naturalistic style: Instead, in this production Draffin draws from a range of classical Asian theatre techniques, skilfully combining them with images projected from a hand-held cyclorama and an amplified sound score.
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