Basil Twist’s “Dogugaeshi” attempts to present the history and culture of Japan through the dogugaeshi technique, which uses artfully decorated boards and sets that puppeteers either drag or push across the face of the stage while puppets dance throughout. In this production, however, the backdrop takes center stage while the Japanese puppet theater falls to the wayside. 

In action, the dogugaeshi technique resembles a live slideshow that uses depth and perspective to alter the audience’s focus. This particular spectacle opens with an example of the stage’s depth, as boards decreasing in size slide open like a lateral Russian nesting doll. Initially, the interminable display of space comes across as comical. But this deliberate, methodical pace remains for the entire show with no sense of direction or purpose. 

Facets of the show exhibit visual excitement with traditional Japanese symbols and style at the forefront. Each set contains intricate works of art depicting intense dragons, rolling waves, beautiful cherry blossoms or complex patterns. During the constant interchanging of these scenes, Yumiko Tanaka plays the shamisen and koto with stoic serenity and grace. 

In order to bring the audience further into the blissful world of dogugaeshi, the theater places small pads directly in front of the stage for those brave enough to sit up close.

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Taking this challenge heightens the cultural discrepancies between the Japanese woman on stage and the primarily American crowd. As parts of the audience struggle in a constant battle to find comfort on the floor, Tanaka remained relaxed, steadily strumming at her instruments and singing a wistful, forlorn tune—all while seated upon a revolving platform straight from a Bond villain's lair.

The production runs for one hour with no dialogue—apart from small clips at the halfway point—and does not tell a coherent story. The set design and order in which the slides are shown gives a sense of focus that does not translate well into the crowd, which grew increasingly restless. Twist incorporates a consistent, systematic pace that fails to ignite passion, even during the tumultuous hurricane segment. 

Puppetry as we know it remains minimal throughout the show. A white dragon scampers throughout the stage during transitions as a way of covering logistical necessities and the puppeteers brilliantly manipulate small figures during a short segment. Yet, these moments are few and far between with the bulk of the production devoted to the stylized boards. 

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Finally, the show begins to close and Twist rehashes the depth of space gag. The audience sees the boards open, descending in scale, but the repeat action garners no laughs this time. Once the final slide opens revealing a bright light, a woodblock—used to open the show—provides a beat while black-clad puppeteers close curtain after curtain…after curtain. By this point, the finale is imminent, but Twist continues to push for artistic expression by having the puppeteers tediously close the curtains. 

While “Dogugaeshi” introduces a cultural specimen to a wider audience, the execution of this performance results in a tiresome display of art for art’s sake. Instead of providing insight into dogugaeshi’s ability to portray Japanese culture, the production offers a simplistic presentation of the art form that fails to add depth to the technique’s definition. 

“Dogugaeshi” will be performed through Sept. 29 at the REDCAT Roy and Edna Disney/CalArts Theater (631 West 2nd Street). Tickets are $15-$25. You can find more information about the production at the Radar LA website.

More coverage of Radar L.A. Festival 2013 can be found here.

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Read more by Michael Huard at MHMovieReviews.com.