Plot
Glass Mask is a saga depicting the devotion of Maya Kitajima to the performing arts as a professional stage actress, and her competition with her skilled rival, Ayumi Himekawa. They are both pursuing the degree of acting proficiency and career success required to play the lead role of the legendary stage play "The Crimson Goddess" ("Kurenai Tennyo"). Maya is not particularly beautiful or smart in school, but her passion for acting is all-consuming, to the point where she literally puts her own life on the line several times for the sake of a role. Always told by her mother that she was good for nothing, Maya wants to prove to the world and to herself that she has worth. On the other hand, everyone expects the gifted and multi-talented Ayumi to succeed, so she is determined to reach the top on her own without the help of her prestigious parents.
As the story unfolds it encompasses the tangled human relationships of many characters, including Maya's mentor, Chigusa Tsukikage, who discovered Maya's tremendous talent for acting during her search for a successor capable of performing the role of "The Crimson Goddess", and Masumi Hayami, the young president of Daito, who often interacts with Maya as a crafty and cold-hearted entrepreneur, while giving her faithful support and warm encouragement in the disguise of an anonymous fan ("The Purple Rose Person", or "murasaki no bara no hito" as Maya calls him for his trademark gift of purple roses). Hajime Onodera, a director for Daito, wants the rights to "Kurenai Tennyo," which were given to Tsukikage by the playwright; since Tsukikage refuses to sell him the rights, Onodera tries to drive Tsukikage's acting school out of business through a series of nefarious schemes. Since Onodera is working for Hayami, Maya (unaware that Hayami is the "Purple Rose Person") hates him. Though there is an age difference of eleven years, Masumi falls in love with Maya and gives her encouragement in subtle ways.
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“James’s great gift, of course, was his ability to tell a plot in shimmering detail with such delicacy of treatment and such fine aloofness—that is, reluctance to engage in any direct grappling with what, in the play or story, had actually “taken place”Mthat his listeners often did not, in the end, know what had, to put it in another way, “gone on.””
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