Simon Ward reviews -320°F at Sadler’s Wells Theatre

This is an all-out assault on the senses which it is all but impossible to sensibly review without some grounding in Japanese theatrical culture and practice. Starting with a mysterious title, ‘Minus Three Twenty Fahrenheit’, this is a vast, sometimes chaotic, mash-up of East and West which contains elements of quasi-pantomime slapstick, broad comedy, beautiful choreography and, at its core, a plea against eugenics and for compassionate treatment of the disabled. Written and directed by Hideki Noda, it is visually stunning, with moments of heart-stopping beauty. The plot is complex and often impossible to follow. Although the English surtitles seem to be very good, and include some wordplay which must be similar to the original, they can only convey the broad sweep of dialogue, so the subtleties and nuances of the acting are inevitably lost to a non-Japanese-speaking audience member.

Adding to the complexity is the fact that the play is set in three time periods – modern, medieval and ancient times – so it appears that archetypal characters repeat similar roles across the centuries. Certainly, we see actors obviously doubling up across time. And indeed, one of the fundamental ideas of the play is that bones are what retain memories and connect life on earth. Thus the play opens on the site of an archaeological dig – the twist, though, is that they are not interested in dinosaur bones, it is the bones of angels that they are seeking. In this magical-mystery world, it is not surprising to encounter Faust (Isao Hashizume), Mephisto (Suzu Hirose) and the Pied Piper of Hamelin (Koji Ohkura).

Delivering this tale are a mixture of heavily made-up and brightly costumed Kabuki-inspired characters, a large cast of shape-shifting dancers and an everyman known as ‘Help’ (Sadawo Abe), who is our way into this maelstrom. Also highlighted is Japanese Sign Language interpreter Misaki who is brought front-and-centre as an opening salvo against the marginalisation and invisibility of the disabled. The closest thing to a heroine in the piece is Professor Kyuri (Eri Fukatsu) whose aim is to use angel bones to cure Angel Disease – this seems to be a metaphor for any disability. Her Assistants are Stalwart (played by playwright Hideki Noda) and Turncoat (Yuri Kawakami) – a nod to Restoration Comedy, perhaps. We also find ourselves rooting for Suzu Hirose in multiple incarnations – as well as Mephisto, she also plays the Angel of Light and young ingénue Jean. Lurking as an eminence grise over proceedings is Isao Hashizume – he plays God, Faust and Dr Bonewave in roles of more or less benevolent power. Greed, scheming and corruption through the ages are represented by Shoko Takada as Queen Hamiko and Chairman Oolong Cha and her sibling rival Satoshi Hashimoto who plays Hamiko’s brother as well as President Oolong Deathmask.

The mysterious title is explained as the temperature at which human eggs can be stored and it seems that fertilised eggs from Cleopatra are available to be implanted. Did I mention that the plot was difficult to follow? Perhaps best to sit back and enjoy the spectacle. Choreography by Shigehiro Ide is stunning and in particular the final dance sequence which sets SIgn Language to music is powerfully moving.

-320°F is running at Sadler’s Wells Theatre, 62 Rosebery Avenue, London EC1R 4TN until Saturday 11th July