Image from production of "Shun-Kin," at the Rose Theater, during Lincoln Center Festival. Interesting review in NYT today... More germane is the aesthetic inspiration the essay provides for his stagecraft, which emphasizes illusions that are low-tech but all the more poetic for their simplicity. Fluttering sheets of paper become flocks of larks. A baby’s birth is suggested through sound effects, gesture and the unfolding of a kimono. That we never see the baby itself has an symbolic potency, since Shun-kin coolly insists that her parents give the child away. The production is bookended by scenes set at the cemetery where Shun-kin and Sasuke are buried. Holding aloft thin wooden poles, the actors mimic the movement of trees bending mournfully over their graves. The stones marking these are, we are duly informed, of different sizes and not laid side by side. Even in death, these peculiar lovers insist on keeping the distance that fed their attraction.