(Mike Eglinton’s article appeared in the Japan Times, 11/22.)

He is one of Asia’s foremost theater directors, and Ong Keng Sen looked to be enjoying his latest challenge when we met in Tokyo in March during rehearsals for “Sandaime Richard,” Japanese dramatist Hideki Noda’s iconoclastic adaptation of Shakespeare’s “Richard III.”

The Singaporean dramatist was preparing to stage the famously complex play two months later at the annual World Theatre Festival Shizuoka — where, he said, he was intent on pursuing his longstanding focus on what he calls “New Asia” by weaving its multiple realities and hybrid identities through Noda’s “machine-gun” Japanese script.

In practice, he was transforming Noda’s radical reworking of the Bard’s original into a multilingual, cross-cultural and hypermodern play involving Japanese, Singaporean and Indonesian performers trained in different disciplines and traditions.

As Ong — who is also artistic director of the performance company TheatreWorks (Singapore) and director of the Singapore International Festival of Arts — went on to explain, “With this year being the 400th anniversary of Shakespeare’s death, we’re putting him on trial via Noda’s illuminating work he wrote and first performed in 1990.”

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