• 人間万事金世中 (Money Talks)

5/13/18 (Sun), Tokyo National Theater (Zenshinza)

A rare full-length production of the 1879 Kabuki adaptation of Bulwer Lytton’s 1840 comedy Money by the prolific Kawatake Mokuami, who reset the piece in modern-day Yokohama. Between those years, Japan had undergone a momentous change from centuries of military rule to parliamentary rule (constitutional monarchy) in 1868, and the wrenching effects this had on society were ongoing as Mokuami took up his pen (or brush).

Mokuami learned of the play second-hand (I doubt he spoke English or actually read the script) and follows the broad outline, such as names reminiscent of the original, e.g. the strange Efu Rinnosuke – Efurin for short – for Evelyn. But he reworked the show seamlessly for a Japanese setting. His career spanned the Edo and Meiji Eras, and he was a sharp observer of the changes in the transformation from feudal society, where position was determined largely by birth, to a money-driven capitalist ethic. This play is a so-called zangiri (cropped hair) drama depicting characters in modern hairstyles and occasional Western dress, a performance style that never really caught on – audiences remained enamored of Edo, and the Western experiment (including the brief use of actresses) was eventually dropped. Still, this show stands as a valuable portrait of its times.

The touches can be subtle: for instance, the nephew and niece’s respective professions as ceramics and silk sellers in Yokohama suggest they have dealings with foreigners, a reflection of the new age that audiences then would have noticed. The set also featured gaslights and brick buildings, which would have been startling on a 19th-century Kabuki stage. More than this, however, the relationships between the characters are symbolic of the new society, where merchants are now on top and money rules. That’s not to say the show offers any real political or social commentary like Money, but the background speaks for itself.

An honest young man Rinnosuke who has been raised by his money-grubbing uncle and aunt is all but ignored as the latter search for a rich husband for their daughter. Their attitude changes drastically, however, when Rinnosuke comes into a large fortune. Once we realize that he is in love with the aunt’s poor but innocent niece, we know exactly where the story is going; the fun is in getting there, involving as usual an elaborate scheme revealed at the end. The focus on money is hardly unknown in Kabuki but is usually more evil or tied to a specific incident, whereas here it has become an end in itself, perhaps a sign of the changing standards just 12 years into the new era.

The show is presented in typical Kabuki style by the Zenshinza troupe, which was founded in the 1930s by a number of leftist Kabuki actors who broke away from the traditional system. I’m not sure what this group is bringing to the table at this point since its style seems pretty conventional to me. Still, the production spared no expense with Kabuki-scale sets and costumes (including top hats, pocket watches and other Western touches), a revolving stage and more, making full use of the National Theater’s facilities. The direction differed slightly from the Kabukiza production in 2003; for example, the mother in that case wore a formal black outfit in the visit with her daughter to her newly rich nephew in a humorous less-than-subtle hint that she is ready for a wedding any moment, whereas here she used a less formal colorful kimono, passing up a potential laugh. Overall, though, it followed the established pattern. On the good side, this show offered scenes that the Kabukiza production skipped for time purposes, most notably Rinnosuke’s interaction with his nanny and the final wedding scene, providing extra depth to the protagonist’s character and a more satisfying ending.

The cast was enjoyable. Fujikawa Yanosuke was appropriately gruff as the comically greedy uncle, while Kawarazaki Kunitaro was fine if not overly exciting as Rinnosuke. Most impressive were the three main onnagata, all excellent, particularly Yamazaki Tatsusaburo as the crass mother. The natural dialogue actually holds up better than the antiquated English version, and the plot, for all its slapstick, is well structured and expertly adapted to Japan. The sudden revelation of the scheme at the end was much better than the original in that, as mentioned, Rinnosuke does not know of the plans, though I found out later that this was in fact a revision by Zenshinza for this specific production. I hope they retain that in the future, since it makes Rinnosuke a more appealing character and makes perfect sense in context. I’m not sure if it would work in the original, but such last-minute twists are right up Kabuki’s alley.

The one-word English title being inappropriate for Kabuki (which normally requires either five or seven characters), Mokuami used “Ningen Banji Kane Yo no Naka” or “All in life is money” as a clever appropriation of the proverb “Ningen banji Saio ga uma” 人間万事塞翁が馬 (Life is like Old Saio’s [unpredictable] horse – i.e., one never knows how the cards will fall). Fun fact: the interesting program observes that the original actor who read out the will, Danjuro, was famous for a similar scroll-reading scene as Benkei in Kanjincho, which was evidently performed in the same program when this play debuted. That explains the famous pose struck here. (Another pose referenced Sadakuro in Chushingura, so audiences must have been pretty Kabuki literate.)

The play is corny and unusually farcical for Mokuami in places, but it flows well, its characters are consistent and it provides an interesting look at the new world of Meiji, not a common sight in Kabuki. An enjoyable show.