Time’s Journey Through a Room is set one year after the 2011 earthquake and tsunami in Japan. This intimate, multi-layered play observes how hope can spring up alongside sadness and fear, and change can be realized if we are awake to the present moment.


Marking PlayCo’s third collaboration with playwright Toshiki Okada, translator Aya Ogawa and director Dan Rothenberg, this production continues our exploration of Okada’s work which began with Enjoy in 2010, followed by The Sonic Life of a Giant Tortoise in 2014.  Time’s Journey reflects the evolution of Okada’s writing in the years since the watershed 3/11/11 event in Japan.

MAY 10 – JUN 10, 2018

Written by Toshiki Okada
Translated by Aya Ogawa
Directed by Dan Rothenberg

Set Design:
Anna Kiraly
Costume Design:
Maiko Matsushima
Lighting Design:
Amith Chandrashaker
Sound Design:
Mikaal Sulaiman
Production Stage Manager:
Molly Shea
Production Manager:
Anchor Watch Productions
Paul Davis, Erica Jensen/Calleri Casting

  • “Time’s Journey” is more than a reflection on a single catastrophe, though. Told in fragments that come together gradually, it is a chronicle of healing, with all its pain and awkward humor and halting steps.”
    - The New York Times, Critic’s PickREAD THE FULL REVIEW
  • “Under Rothenberg’s laser-pointed direction and the equally precise performances of the very fine trio of actors, time is seen and felt as a continuum, in real time (aided by Aya Ogawa’s smooth translation).”
    - Exeunt Magazine NYCREAD THE FULL REVIEW
  • "★★★★"
  • “Vivid tableaus, perpetual movement by the actors and precise placement of them characterize Dan Rothenberg’s stately, sensitive and aesthetic direction that crisply realizes Okada’s vision….A profound and moving experience.”
    - TheaterScene.netREAD THE FULL REVIEW


Mezzanine Theatre
502 W 53rd St (at 10th Avenue)
New York, NY 10019

The closest subway stops are the A, C, E at 50th Street and Eighth Ave., or the A, C, B, D, 1 at 59th St./Columbus Circle. Remember, the theatres are just beyond 10th Avenue, so please plan for walking time.

There is ample parking available in the neighborhood, including Icon Parking right next door on 53rd Street.

There is a Citi Bike station located directly across the street from the theatre entrance; look at the Citi Bike Station map to learn more: citibikenyc.com

The A.R.T./New York Theatres are fully ADA-accessible, including convenient curb cuts close to our entrance for wheelchair and mobility device accessibility. Elevator access to each floor. Wheelchair-accessible restrooms available on the Mezzanine and 2nd Floors.The Mezzanine Theatre is wheelchair accessible and a wheelchair-accessible restroom is available on the Mezzanine level.

Please feel free to contact PlayCo (212-398-2977) after you purchase your ADA tickets and in advance of your performance so we can better serve your individual needs.

Assistive listening devices are available.

For information on the A.R.T./New York Theatres including directions and accessibility information, please visit art-newyork.org

Toshiki Okada

TOSHIKI OKADA (Playwright)
Born in Yokohama in 1973. Toshiki Okada is a Playwright / Director / Novelist. He formed the theater company chelfitsch in 1997, developing a methodology that combines hyper-colloquial language and unique choreography. A few highlights include: Five Days in March (2005) winner of the prestigious 49th Kishida Kunio Drama Award; his 2007 collection of short stories The End of the Special Time We Were Allowed awarded the Oe Kenzaburo Prize; the video installation Four Unremarkable Things You See at Train Stations at the Museum of Contemporary Art Tokyo. In 2016 he began a commission to direct works in repertory at the Munich Kammerspiele for three consecutive seasons. Photo: Kikuko Usuyama

Aya Ogawa

is a Tokyo-born, Brooklyn-based playwright, director, and translator for the theater. She wrote and directed oph3lia at HERE; Journey to the Ocean, commissioned by The Foundry Theatre; and Ludic Proxy, commissioned by The Play Company, She is currently developing a new project titled FAILURE SANDWICH. She has translated numerous Japanese plays into English, including over a dozen plays by Toshiki Okada. Her translations, described as “fluid and delicious” by American Theatre Magazine, have been published by Samuel French among others and produced in the U.S. and U.K. She is a current resident playwright at New Dramatists, artist in residence at BAX, as well as an NYTW Usual Suspects. Recipient: LMCC President’s Award, MAP grant, HERE Artist Residency. Photo: Will O’Hare

Dan Rothenberg

is a co-founder and co-artistic director of Pig Iron Theatre Company. He has directed almost all of Pig Iron’s 30 original performance works, including the OBIE Award-winning Chekhov Lizardbrain and Hell Meets Henry Halfway. For Play Company, Dan directed two previous works by Toshiki Okada: Enjoy (2009) and The Sonic Life of a Giant Tortoise (2014). Rothenberg teaches physical theater at the UArts/Pig Iron MFA program. He is the recipient of a Pew Fellowship in the Arts (2002) and a USA Artists Knight Fellowship (2010).

Maho Honda

is making her off-broadway debut. Originally from Japan, Honda is an HB Studio alumni; one of the founders of Derrrrruq!!!; producer and actor in the web-series, 2nd Avenue; is trained as a Tate Japanese sword fight performer and produced and acted in the short film, First Samurai in New York. Film & TV include Three Billboards Outside Ebbing, Missouri; Unbreakable Kimmy Schmidt; and The Newsroom. Honda writes columns for The Huffpost Japan, ELLE online, and enjoys volunteering at animal rescues for wild birds and pet rabbits. IG: @mahohondanyc – Website: mahohonda.com

Yuki Kawahisa

was described by The New York Times as “simple and brutal as a knife to the throat.” Kawahisa has performed at Performance Space 122 (Temporary Distortion’s Americana Kamikaze); Creteil Maison des Arts in Paris; VIA Festival International in Maubeuge, France; Birsbane Powerhouse; The Public Theater (Andrew Ondrejcak’s FEAST). Other credits include Robert Wilson’s KOOL: Dancing in my Mind (Guggenheim Museum, Baryshnikov Arts Center, Akademie der Kunste Berlin); Kiss Kiss Bang Bang 2.0 by Wang Chong (Tokyo Metropolitan Theater); Ondrejcak’s Elijah Green (The KITCHEN); WONDER/LUST (HERE Arts Center); Buran Theatre’s TB Sheets (A.R.T New York) and Aya Ogawa’s Ludic Proxy with PlayCo.

Kensaku Shinohara

was born in Sapporo, Japan. Shinohara discovered dance in 2004 while studying in Tokyo. After touring with dance companies Nomade-s, Grinderman, and his own company Team Punchinello, he moved to New York City. His works have been presented at the Queens Museum, St. Mark’s Church, LaMaMa Experimental Theater, Brooklyn Studios for Dance; elsewhere in the USA (Tucson, Milwaukee, Pittsburgh); and internationally in Toronto, Kuala Lumpur, Tainan, and major cities in Japan. Shinohara is a recipient of a 92Y Harkness Dance Center AIR, Exploring the Metropolis AIR, Queens Arts Fund New Work Grant, Japan Foundation New York Grant for Arts & Culture. Photo: ©Charles Aydlett

Japan Society

The Japan Foundation was established in 1972 by special legislation in the Japanese Diet and became an Independent Administrative Institution in October 2003. The mission of the Japan Foundation is to promote international cultural exchange and mutual understanding between Japan and other countries.

Japan Society

Japan Society is the leading U.S. organization committed to deepening mutual understanding between the United States and Japan in a global context. Now in its second century, the Society serves audiences across the United States and abroad through innovative programs in arts and culture, public policy, business, language and education.


Performance space for this production was subsidized by the A.R.T./New York Theatres Rental Subsidy Fund, a program of the Alliance of Resident Theatres/New York (A.R.T./New York).