Entrenched in an elite sumo training facility in Tokyo, six men practice, eat, love, play, and ultimately fight. Step into the sacred world of sumo wrestling, with the New York premiere of Lisa Sanaye Dring’s mesmerizing new drama, SUMO.
Akio arrives as an angry, ambitious 18-year-old with a lot to learn. Expecting validation, dominance, and fame, and desperate to move up the ranks, he slams headlong into his fellow wrestlers. With sponsorship money at stake, their bodies on the line, and their futures at risk, the wrestlers struggle to carve themselves—and one another—into the men they dream of being.
SUMO is a thrilling new play set in an elite and rarely explored world. Obie Award winner Ralph B. Peña directs this powerhouse drama.
Yet when you look for the souls within the clothing you find nothing as precise or vivid. That’s a problem that comes with the play’s virtues. Respect and delicacy, wonderful life values, are less so in drama, and Dring’s framing of the work with ingratiatingly comic narration from three priests, as if her subject would otherwise be too strange for New York theatergoers, has a paradoxical effect. It makes sumo seem like a museum exhibit, trapped behind glass. Better, perhaps, just to throw us into the ring.
But unlike the bouts, which often last less than a minute, Sumo frequently feels sluggish. The humorous sequences are high points, especially a scene of spirited post-tournament karaoke, but the central narrative—leading up to an epic final showdown that pits empathy against aspiration—ultimately feels too pat; a subplot involving a taboo relationship is more gripping than the main story. The play is a solid contender, but it doesn't have quite enough surprising moves to rise to the level of champion.
2025 | Off-Broadway |
The Public Theater Off-Broadway Premiere Production Off-Broadway |
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