Pitt senior looking to get out of the ‘Burgh and work

Dressed in movement clothes, typically shorts and T-shirts, the cast of “Rashomon” kneels in a… Dressed in movement clothes, typically shorts and T-shirts, the cast of “Rashomon” kneels in a meditation circle. “Hai,” says director Yukihiro Goto as the circle members slowly move into a bow. Though it is past 6 in the evening, “Ohaiyogozaimasu,” the polite form of “good morning,” is the response. The worries of the outside world are left behind as their energies are collectively centered on the work ahead.

Every rehearsal for this production begins in this way. “We say ‘good morning’ in the mediation circle,” cast member Ryan McKelvy said, “because theatre people in Japan are creatures of the night, so any part of the day is morning.”

Sitting in Kiva Han, the complex Japanese phrases roll easily off McKelvy’s tongue. A sixth-year Pitt student and McKeesport native, he has studied about six languages and has always been interested in Asia and Japanese theatre techniques.

Pitt Rep’s production of “Rashomon” is a story of rape and murder set in medieval Japan. Told through flashbacks and from four different view points, it is the audience that will ultimately decide where the truth lies.

“Though it’s an Americanization,” McKelvy said, “we’re going to try and be as true as possible to the culture.” Pitt’s production has many stylized elements and spectacles that come from Japanese theatre traditions such as Kabuki theatre and Butoh dance. Originally an old Japanese tale, “Rashomon” was adapted for Broadway by Faye and Michael Kanin from the 1950 screenplay by Ryunosuke Akutagawa.

McKelvy plays a Buddhist priest, a religion McKelvy holds close to his heart, though he would not call himself a Buddhist. McKelvy found that this was the first time he needed to do research for a part. Through his research, he discovered what sect his character belonged to, what the beads and staff he carried symbolized, and various other cultural, social and religious ideas and practices.

“As an actor, I was always told I intellectualize too much. I’m emoting, not doing,” he said. The contemplative and reserved nature of his character has given McKelvy a “chance to embrace this acting issue.”

He and the other actors learned body and voice control through the highly disciplined Suzuki method created by Tadashi Suzuki. Guest director Yukihiro Goto, who actually studied with Suzuki, devoted one hour of their rehearsals to this training. During this time, the actors would do such exercises as striking a statue pose and then reciting a monologue, which teaches use of the entire body. McKelvy himself learned how to kneel for long periods of time, though he often found that his feet had fallen asleep when it came time for him to stand.

“I gained more consciousness of my body [through this training], and I feel more comfortable with my body,” McKelvy said. “It was always a learning experience for everybody. You always have a sense of family with your cast, but here it’s 10 times more because of the ritual [Yukihiro Goto] set up for it.”

An English writing major with a focus on poetry and theatre arts minor, McKelvy finds he has difficulty balancing his two arts. “I just feel so creatively consumed,” he confessed, referring to his commitment to “Rashomon.”

Though he feels he is a poet first and foremost, he admits to having moments where theatre seems to be moving up on the priority list.

“I’ve always had that urge to be on the stage,” he said.

Though he’s been in six productions at Pitt, his favorite is still his first performance in the lab production of Sam Shepard’s “Fool for Love.” Playing an “old, grizzly cowboy,” what he enjoyed about his character was that it was so far from anything he found in himself.

McKelvy is graduating this summer and ready to leave Pittsburgh, though he is quick to note that he loves the city, and he has decided to take a year off.

“There are a lot of things I haven’t read, and I want to prepare myself for a more serious education,” he said.

With the goal of enrolling in a master’s in fine arts program in fall 2006, he will also take some time to visit the cities where he is considering applying, such as New York, Chicago and Boulder, Colo. But he hasn’t ruled out other possibilities.

“If I end up wandering, I might wander into another country,” McKelvy said, referring to teaching English abroad.

But with the show opening Thursday night and running until Feb. 27, all his energies are focused on putting forth a wonderful show that will create a connection between the actors and the audience.

“When you’re in a show with spectacle, you’re always afraid, ‘is that all it’s going to be?’ But we don’t strive for perfection. We strive for [audience] receptivity,” he said.

“Rashomon” is open at the Charity Randall Theatre through Feb. 27. Tickets are $10 for students. For tickets or more information, call (412) 624-PLAY.