Review: Tattooer, Charing Cross Theatre

The second production in Charing Cross‘s season from the Japanese company Umeda Arts Theater is Tattooer, adapted by Takuya Keneshima from the short story by Junichiro Tanizaki. 

Seikichi (Leo Ashizawa), a renowned tattoo artist known around the world – rumoured to have inked two British princes – sets his sights on his next canvas, Kazuyo A (Mao Aono). He tells her that he will transform her into a masterpiece with not-so-subtle erotic undertones. He wants to carve his soul into the skin of a beautiful woman, his provocative taunts about “pricking her” and “putting his ink inside her” immediately set an uncomfortable tone for the evening. This clumsy blend of innuendo and menace, coupled with Seikichi’s exaggerated foot fetish (which feels absurdly misplaced and ridiculously overdone – it would look out of place in a pantomime) leaves the whole tone of the play in question. 

Unfortunately, it’s not helped by large points of the plot being impenetrable. Kazuyo B (Aki Nakagawa) arrives, and it is utterly unclear if she is Kazuyo A’s sister, the same woman or perhaps even from (or in) a different time? Then there’s a backstory about an injury to Kazuyo from an earthquake and how Kazuyo wants a tattoo to cover this up – we see this play out, but we have to be told moments later that it was an earthquake for it to make any sense.

The interval is a welcome reprieve, not least because master Japanese ink-brush painter Gaku Azuma takes to the stage to create stunning live artwork, painting both Nozomi de Lencquesaing and the stage itself. It’s dazzling work, making the play all the more a disappointment as it has the audience ignoring the usual interval rush to the bar and instead gathering around mesmerised by his wonderful display of traditional Japanese artistry.

Director Hogara Kawai finds greater success with his own set design. One striking moment occurs when Seikichi plucks out his own eyes (no, I’m not clear why this happened) and instead of blood, ink drips onto the stage. The final scenes are visually captivating, with layers of robes draping the stage, and a striking final visual where paint is applied strategically across the stage. Certain areas have been treated to repel the paint, allowing an eye-catching pattern to appear as the paint cascades off. It’s a visually arresting moment that showcases a keen eye for design, in stark contrast to the play’s muddled narrative. 

I have tattoos myself – something relevant here, as the programme specifically wants people with tattoos to experience the show. I have visited Japan and have an interest in Japanese culture. In fact, within arm’s reach of my desk is a sizable collection of Japanese films, several of which focus on the art of Irezumi tattoos. So naturally, I was excited to see Charing Cross Theatre take the bold step of bringing two Japanese productions to London and should be the ideal audience. It’s great credit to Charing Cross for their ambition but the execution unfortunately falls far short of what is expected. 

Written by: Takuya Kaneshima
Directed & Set Design by: Hogara Kawai
English Translation by: Linda Hoaglund
Produced by: Umeda Arts Theater

Tattooer plays at Charing Cross Theatre until 26th October. Further information and tickets can be found here.