Tapping into our deepest fears

25 June 2018

Review: Samantha Chester, HIRO: The Man Who Sailed His House ·
The Blue Room Theatre, 23 June ·
Review by Steven Cohen ·

“Strange things happen in this world,” Haruki Murakami says. “You don’t know why, but they happen.” This could be the maxim that guides Hiro: The Man Who Sailed His House, directed by Samantha Chester and created by Chester with Humphrey Bower, who is also one of the work’s two performers.

Lurching between reality and fantasy, where good and evil are both disconnected and inconsequential, our hero, Hiro, is left to travel through a labyrinth world, in which he learns what it means to be human.

Hiro: The Man Who Sailed His House tells the true story of Hiromitsu Shinkawa, who was swept ten miles out to sea by the 2011 Japanese tsunami, clinging to the roof of his house. Based on the essay by Michael Paterniti, the play adapts both surrealist elements of traditional Japanese theatre and contemporary dance, to create a fantastical interpretation of this remarkable tale.

Chester’s composition sees a dancer (the impressive Kylie Maree) weave paper puppetry, and light and dreamy movement around Hiro’s penetrating monologue, poignantly delivered by Bower. The effect is akin to being thrown into a Murakami novel, replete with dreamlike sensations, but tempered by the realism of a routine sit-down meal.

Photo: Stephen Heath Photography
‘Hiro’ is a meditation upon the dichotomy of the human condition. Pictured are Humphrey Bower and Kylie Maree. Photo: Stephen Heath Photography

Hiro’s entire soliloquy is conducted in second person, employed to bring the audience into the drama. While this technique can be a risky proposition, the use of Maree’s precise puppetry to portray Hiro’s alter-ego helps to control the device and deepen the story. It works, perhaps, because the story is an existential one, concerning the dichotomy of the human condition: good and bad, joy and sadness. The play becomes a meditation upon this dualism through Hiro’s intractable conversation with himself.

Colour and light, created by set designer Rhys Morris and lighting designer Phoebe Pilcher, heightens the transition between dream and reality. Morris’s magnificently crafted three-dimensional model of a ship (or are they pigeons?), that changes colour as the tempo shifts, acts as a wonderful counterpart to the reality that is Hiro’s drifting life.

In many ways Hiro resembles Lewis Carroll’s Alice, navigating Wonderland. He is caught between sanity and insanity, in a place where his paper shadow often resembles wild kabuki poses and where he finds himself ghost waltzing to eerie sounds. Unlike Alice, though, we are drawn to Hiro not because of his adventure, but because of his unimaginable survival. There is something in the story that taps into our deepest fears.

Hiro’s story is a difficult one to tell without falling into Hollywood vice. Chester, with co-creator Bower, has blended two different art forms into an engaging and highly imaginative work about one man’s quest, not only to survive, but to live.

Hiro plays The Blue Room Theatre until July 7.

Read Seesaw’s interview with Samantha Chester.

Pictured top: Humphrey Bower and Kylie Maree in “Hiro”. Photo: Stephen Heath Photography

Colour and light heightens the shift between dream and reality. Pictured is Humphrey Bower as Hiro. Photo: Stephen Heath Photography

Like what you're reading? Support Seesaw.

Author —
Steven Cohen

Steve Cohen is a doctor, a philosopher and dreamer. Steve has ridden the rails, gotten off track, and lost his train of thought. Only to get back on again. He spends most of his spare time considering the follies of a certain 2 year old child and wondering what it would actually be like to be on stage rather than write about the stage. Favourite playground equipment? They all hurt.

Past Articles

Read Next

  • Two people stand against a black backdrop holding large material puppet figures of a child and a woman holding a book Snot saves the day

    Snot saves the day

    25 January 2022

    A puppet show about a child with a big, snotty nose as ridiculous as it sounds, says Kobi Morrison, and the beautiful madness has kids and adults hooked.

    Reading time • 3 minutesTheatre
  • Three performers are on a stage against a backdrop of a giant green star. Two of the performer stand with their arms and legs spread wide while they hold the legs of the third, who is doing a handstand between them Rising stars have it all

    Rising stars have it all

    25 January 2022

    Stardom is an elusive dream, as the cast of ALLSTARS make clear, but David Zampatti sees plenty of evidence to suggest this exciting trio have what it takes.

    Reading time • 5 minutesFringe World Festival
  • Photo: Georgi Ivers A woman stands centre stage, in her underwear, with a cushion strapped to her stomach to mimic pregnancy. She leans back awkwardly from the hips, one arm extended. She is surrounded by elaborately framed photos of herself pulling funny faces. Childbirth stripped bare

    Childbirth stripped bare

    25 January 2022

    A visceral and highly physical story of one woman’s experience of childbirth – in all its guts and glory – The Dirty Mother is a performance that demands to be heard says Claire Trolio.

    Reading time • 5 minutesFringe World Festival

Leave a comment

Cleaver Street Studio

Cleaver Street Studio

Cleaver Street Studio