Arlington’s Signature Theatre often takes risks. Frankly, that’s one of the things that I love about Signature. After almost 15 years as a subscriber, I’ve come to expect that I never quite know WHAT to expect at curtain time.

Sometimes what I see on stage blows me away! Sometimes what I see leaves me wondering why I went in the first place. Sometimes, the people I’m with love the show and I hate it. Sometimes my friends hate it, but I love it.

By the final blackout, we only see what we want to see.

See What I Want to See with music and words by Michael John LaChiusa is currently playing in Signature’s small, intimate theatre, The Ark. This curious show, based on short stories by Japanese writer Ryunosuke Akutagawa (1892 - 1927), consists of two acts that have little to do with each other. If you know the source material, you might understand the nod to Japanese culture that opens each act. If you don’t know the source, you will be left wondering what you’ve seen.

But, that feeling of confusion doesn’t end with the opening. As often happens when two completely different stories are told in a single evening of theatre and performed by the same ensemble, the audience (in effort to make sense of both pieces) subconsciously tries to make connections where there are none. In this case, one is left to wonder if the down on his luck accountant in Act Two, played by Tom Zemon, is related to the very successful businessman played by the same actor in Act One; or the cinema custodian accused of murder in Act One, played by Bobby Smith, has anything to do with the priest who questions his faith in Act Two. These connections—or misconnections—are further complicated by direction that forces the cast to mirror their own movements and staging from act to act.

While the stories are distinctly separate, told in different times (yet overlapping venues), there is a common, albeit loosely woven, theme. At its very core, See What I Want to See is about the power we have to make our own reality—define our truth.

How much does what we say, or do, or feel, define our beliefs? If we say something enough, does it become reality? Where is the line between lie and miracle? See What I Want to See explores exactly that. Unfortunately, it does so somewhat unsuccessfully. After two hours, we are left pondering what is real, or fantasy—what is meant by the staging, the stories, and the songs.

LaChiusa’s musical style is not melodic. It’s harsh, dissonant, and, at times, downright difficult to listen to. But there are shining moments of musical brilliance. The intricate harmonies in Act Two come together to create an unexpectedly lush sound—but only for a moment. All too soon, the music is again in discord and not so pleasing. To complicate, at the performance I saw, the orchestra competed for dominance and the performers were left struggling to be heard.

Overall, the cast excelled. Rachel Zampelli, as Kesa, The Wife, and An Actress, offered a beautiful performance, particularly as An Actress. Her vulnerability and insecurities were extremely well telegraphed. The real star of the show however, was Channez McQuay who does double duty as The Medium and The Aunt. Her two performances were so different, and at times so startling, that she captivated her audience. And in the only show-stopping number of the night, her turn in Act II was a rare treat in this show.

Matt Pearson's performance as The Thief was raw and spot on. His thug-like persona was true to the role, however, his Act Two character, A Reporter, seemed awkward at best. Having seen Pearson in at least two other roles, he seemed horribly miscast and wasted in this show. It almost seemed as if director, Matthew Gardiner, didn’t know what to do with this performer who has such a commanding stage presence.

Even though this show suffers, Signature Theatre and Gardiner should be applauded. This new, adventurous work is what Signature does well. It’s one of the reasons I continue to subscribe. And while these shows sometime work incredibly well (The Studio, ACE, Crave), other times they just don’t (The Lieutenant of Inishmore, and now See What I Want to See).

In this case, the message is both too vague and too heavy-handed, including a gratuitous reference to the tragedies of September 11. While I appreciate the attempt to make the story relevant, what I really wanted was just some good story-telling. I didn’t see it.

See What I Want to See – Words and Music by Michael John LaChiusa, based on short stories by Ryunosuke Akutagawa, as translated by Takashi Kojima, directed by Helen Hayes Award winner Matthew Gardiner. Extended to May 31 at the Signature Theatre, Arlington, VA.