The Japanese noh play at the University of Hawai'i is a unique event, but one that is not for everybody.

The highly ritualized and stylized presentation is designed to move its audience into a contemplative state and to hold them in the emotional moment of the drama. The action is not external in the Western sense of movement and dialogue, but internal and mood-driven. So don't expect much to happen.

Characters are introduced, move rarely, but with significant subtlety, and deliver meditative arias with much formality. When emotion is present, it is understated. It is a 700-year-old art form that has been compared to the Roman Catholic high Mass for its symbolism and rigid patterns.

But it does tell a story.

In "Sumida River," a mother searches for her kidnapped young son, who — it is feared — has been murdered. The tragedy unravels in its own time — which is suspended outside of normal experience — to its conclusion — which is unrelenting and inevitable.

The marketing material recognizes that the format may be difficult for an audience unfamiliar with its traditions, and gives the welcome permission that it is acceptable to nap during the performance. The slow pace assures that you won't miss much and, when you check back in, the characters are likely to be in the same places and holding the same poses.

A short flute overture allows us to contemplate the formal noh stage, a bare wooden platform backed by a weeping willow tree and surrounded by smoothed river rocks.

There is a period of silence before the actors and musicians make their formal entrances. Musicians and stage hands are clothed in soft black robes, while principal characters wear starched and folded costumes in exaggerated silhouettes that extend normal body outlines.

A small, dark tower topped with greenery is wheeled out and placed importantly at stage center. We learn later that it represents the burial mound that encloses the missing son.

There are few characters. A Boatman and a Traveler make short introductory speeches, preparing the way for the Mother. She is the shite, or main character, played on alternate nights by Noriko Katayama and John Oglevee, and the only performer to wear a mask.

Eventually the child appears, but does little to relieve the sadness that permeates the drama. A chorus sitting at the side of the action provides commentary, accompanied by a few musicians located slightly upstage.

The play is translated and directed by Richard Emmert, who — assisted by professional noh actors Akira Matsui and Kinue Oshima — has trained the cast of university students for the performance.