BY KATSUTO SAKOGASHIRA

SUMO at The Public Theater is a groundbreaking exploration of a sport and art steeped in tradition, culture, and ritual. Behind the visual power of this production are two incredibly talented designers: scenic designer Wilson Chin and costume designer Mariko Ohigashi. Together, they have created a world that is not only rooted in the physicality and ritual of sumo but also expansive enough to embrace the cosmic, mythical, and larger-than-life elements of the sport and the story. In a recent conversation, Chin and Ohigashi opened up about their design process, the challenges they faced, and the creative decisions that brought the world of SUMO to life on stage.

Bridging Japanese Culture with American Audiences

The challenge of designing a sumo world for American audiences required Chin and Ohigashi to balance cultural authenticity with theatrical effectiveness. For Chin, the key to designing the set was creating an immersive environment that would make the audience feel connected to the sumo experience. "Sumo is a full-body, visceral sport," he says. "I wanted to create a stage that felt as intense and immediate as the sport itself, while still respecting its tradition."

Chin achieved this by using a deep thrust stage that allowed the audience to feel close to the action, simulating the intimacy of the sumo ring. However, SUMO is not just a story of a sport—it’s also a story of Japanese gods and spiritual realms. Chin designed a set that could transition from the grounded realism of the sumo ring to more otherworldly scenes. A large wall of lights became a central feature, capable of transforming the space to reflect everything from intimate moments to grand cosmic scenes. "The lighting and projections allow us to shift between these two worlds—the gritty reality of sumo and the expansive, spiritual universe," Chin explains.

For Ohigashi, the costume design posed its own set of challenges. The sumo attire, especially the mawashi (the loincloth worn by wrestlers), had to be both culturally accurate and practical for the fast-paced demands of the stage. "I needed to make sure the costumes were authentic but also allowed for quick changes and mobility," she says. Ohigashi immersed herself in the world of sumo, visiting sumo shops in Japan to study the garments and understand their functional aspects. "Sumo attire has deep cultural meaning, but it also serves a specific function in the sport. I had to find a balance between honoring the tradition and accommodating for stage practicality."

Extensive Research into Sumo’s History and Culture

Both designers took their research seriously to understand the nuances of sumo, ensuring that their designs stayed true to the culture and history of the sport. Chin, while not as familiar with sumo at the beginning, spent considerable time learning about the rituals and physicality involved in sumo wrestling. "I wanted the set to respect the sacredness of the sumo ring, but it also had to be adaptable for a theater performance," he explains.

Ohigashi, a native of Japan, drew on her own experiences but also conducted extensive research to make sure the costumes reflected the sumo tradition accurately. "I had to learn about the different ranks within sumo and how each rank was represented in the attire," she explains. "The color and material of the mawashi change depending on the wrestler's rank, and those details were important for telling each character's story."

Collaborating on a Story of Asian Heritage

One of the most significant aspects of SUMO is its predominantly Asian and Asian American creative team. For Chin, who is Chinese-American, this collaboration was an opportunity to connect with a shared cultural understanding. "Working with a team that shares a similar cultural background allows for a deeper level of authenticity," he says. "There’s a certain trust and respect that comes with that, which helped the design process feel much more personal and connected to the material."

Ohigashi also appreciated the opportunity to work with a team that understood the intricacies of Japanese culture. "There was a sensitivity and a shared awareness in the creative discussions that made this experience unique," she says. "We were all aligned on the importance of respecting the traditions of sumo and telling an authentic story."

Working with a largely Asian and Asian American team also provided both designers with a chance to reconnect with their own heritage. "Even though I grew up in Japan, working on SUMO allowed me to see my culture in a new light," Ohigashi shares. "It’s like rediscovering your heritage through a different lens, and that was a rewarding experience."

For Chin, this was also a learning experience. "I had to learn a lot about sumo culture and the finer details of its traditions," he admits. "But working with Mariko and the team gave me the opportunity to grow and expand my understanding of Japanese culture."

A Design that Honors Tradition and Elevates the Story

Chin and Ohigashi’s designs are a reflection of their commitment to authenticity and cultural sensitivity. Their collaborative efforts ensure that SUMO honors the traditions of sumo wrestling while making the world of the play accessible to a wider audience. Through their designs, the play is able to transcend the boundaries of sport and become a narrative about identity, culture, and spirituality.

In the end, SUMO’s set and costumes do more than just transport the audience to a sumo ring. They invite the audience to experience a world that is rich in history, emotion, and meaning. Chin and Ohigashi’s designs bring that world to life with respect, creativity, and a deep understanding of the culture behind the story.

SUMO begins performances on Thursday, February 20 and runs through Sunday, March 23. Click here for more information on the show and how to get tickets.

Katsuto Sakogashira (he/him) is a writer, designer, and actor from Amakusa, Japan. He is a member of the 2024-2025 cohort of the BIPOC Critics Lab at The Public and is pursuing an MFA in Acting from Brown University / Trinity Rep.

This piece was developed with the BIPOC Critics Lab, a new program founded by Jose Solís training the next generation of BIPOC journalists. Follow on X: @BIPOCCriticsLab.

Pictured:

David Shih, Ryan Nebreja, and Kris Bona in the 2023 production of SUMO at La Jolla Playhouse. Photo by Rich Soublet II.

David Shih and Scott Keiji Takeda in rehearsal for the 2025 production of SUMO at The Public Theater. Photo by Joan Marcus.

Costume sketches courtesy of Mariko Ohigashi.