Taira Jo: The Blind Minstrel Orin (はなれ瞽女おりん)

  • Taira Jo: はなれ瞽女おりん (The Blind Minstrel Orin)

10/1/17 (Sun), New National Theatre, Tokyo

The eclectic puppeteer Taira Jo is back with a series of three adult-oriented shows performed over three days. All the dramas highlight women, making for a theme of sorts, though that’s the only thing in common among them. Yesterday was Medea, a revival of the excellent production I saw some years back, and tomorrow is a piece by the aggressively avant-garde Terayama Shuji. Today’s sounded like a safer bet. This story was originally a 1974 play, which was novelized the following year and made into a film by Shinoda Masahiro in 1977 under the name “Ballad of Orin”, which I have not seen. Taira again played all the roles, helped by three hooded kurogo stagehands.

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Prince of Broadway: Wish List

Reviewing Prince of Broadway in Tokyo a few years back, I had made some suggestions on how the creators might have approached the material. I had been hoping for interesting tidbits on the art of producing/directing or even backstage stories rather than just random songs in their original stagings. Harold Prince wanted to present the “arc” of his shows by staging representative numbers, but setting aside whether that’s even possible, that’s not what we got, at least in Tokyo (does “The Ladies Who Lunch” really show the arc of Company, for example?).  And it’s not necessarily what we wanted.

With the show on Broadway now (apparently in much the same format), I’ve been asked — challenged, really — to elaborate. I like a dare, so here are a few examples of the kind of show I would have liked to have seen. I don’t pretend to be a writer – I took these from vague recollections of articles and interviews with a few quotes thrown in and made up most of the rest – but I wasn’t as interested in the details as in conveying the general concept. Hopefully it will get the point across.

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Kabuki: Hade Kurabe Ise Monogatari (競伊勢物語)

  • Kabuki: 競伊勢物語 (Hade Kurabe Ise Monogatari)

9/15/15 (Tues), Kabukiza

Hade Kurabe Ise Monogatari (A Colorful Rivalry: Tales of Ise) is another convoluted but entertaining piece by Nagawa Kamesuke, the same guy who wrote the classic Meiboku Sendai Hagi (which is playing in the afternoon). The program noted that this is the 1,200th anniversary of the birth of one of the show’s main characters, Ki no Aritsune.

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Aladdin (アラジン)

  • アラジン (Aladdin)

8/8/15 (Sat), Tokyo

I had heard good things about this production of Aladdin, which is completely sold out for nearly a year in advance. I’m always wary of the Gekidan Shiki group because of its Kabuki-like acting style, but as a fan of the movie and still not having seen the show on Broadway, I accepted quickly when a friend came up with a last-minute ticket. His tickets came apparently from a fan from Shizuoka who is seeing this for her seventh time and had two extra seats. I was surprised at the relative lack of children in the audience, but I suppose normal families have no chance against the many rabid Shiki fans like her who are willing to travel an hour and a half on the Shinkansen dozens of times to see the same show. A sad fact for theater fans, but Disney (whose The Lion King, Beauty and the Beast and The Little Mermaid are also successfully managed in Japan by Shiki) must be laughing all the way to the bank.

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Drum Tao

  • Drum Tao

7/24/15 (Fri), Tokyo

A performance of Japanese taiko drums dressed up in a dramatic frame. Drum Tao is a group of young well-built drummers and athletes from Oita Prefecture in Kyushu that has apparently been around a while – the program (unusually distributed free) says they’ve performed in 400 cities in 20 countries. But they were new to me.

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Hana-Bi

  • Hana-Bi

6/24/15 (Wed)

I wasn’t wild about the idea of a Kitano (“Beat”) Takeshi film given its reputation for over-the-top violence, but Hana-Bi is one of several flicks by him – “by” in a big sense, meaning directed, written and starring – that are widely considered modern classics, especially overseas. So I figured it was about time to check it out.   Continue reading

The Closet; Loose Cannons

  • Le Placard (The Closet), 5/31/15 (Sun)
  • Mine Viganti (Loose Cannons), 6/6/15 (Sat)

A mention in a newspaper column prompted me to look for The Closet. I tried to buy a download on Amazon and Apple, but they made it so difficult that I just watched it on YouTube.

An accountant in a large company is so dull as to be almost invisible. He is ignored by his colleagues, and neither his ex-wife nor his teenage son will return his calls. Furthermore, he overhears talk that he is going to be axed by the firm. Depressed and lonely, he contemplates jumping off his building. A neighbor aims to help by concocting a scheme: he anonymously mails the company a doctored image of the guy in a leather suit with his hands all over another guy, strongly implying that he is gay. That apparent revelation makes it impossible for the company to fire him, and more than that, makes him suddenly an object of fascination for the entire firm.  Continue reading

Silent films: Kid Commotion, The Dawning Sky (子宝騒動、明け行く空 )

  • Silent films: 子宝騒動、明け行く空 (Kid Commotion, The Dawning Sky)

5/19/15 (Tues), Tokyo

These were silent films by Torajiro Saito, evidently known in his day as film studio Shochiku’s “king of comedy”. They were narrated by a female benshi, Akiko Sasaki, who sat at the side of the screen and voiced all the roles as well as narrating non-dialogue sections in her own words. The music was newly composed and played live on a keyboard. The setup directly recalled (and perhaps stemmed from) Japan’s Bunraku puppet theater, where the narrator and musician sit in full view of the audience on a raised platform beside the stage and give voice to the voiceless puppets. The mixture of film and live performance seemed very modern somehow, so it’s interesting to note that Japan was doing it nearly a century ago.   Continue reading

Two Sergio Leone classics

  • The Good, the Bad and the Ugly, 8/14/17 (Mon)
  • Once Upon a Time in the West, 8/19/17 (Sat)

These films, said to be the pinnacle of the Italian “spaghetti Westerns” (known oddly in Japan as “macaroni Westerns”), had been strongly recommended by a European friend. I was skeptical. The Western is probably the most distinctive film genre of the American cinema given the phenomenon at its core: the vastness of the landscapes, the lure of uncultivated and unknown territories, the opportunity to create new societies from nothing but soil and daring – there is nothing remotely comparable in the European experience. The bulk of settlers were not running from persecution or war but, piqued by curiosity or ambition or boredom, toward the infinite possibilities of a new life that they themselves would have to build. The courage of those willing to plunge into the void on the basis of sheer hope is a situation that lends itself to broad archetypal characters, and the best of the Westerns reflect this sense of a land still coming together, fueled by an optimism built into the American psyche that anything is possible. I was curious how a non-American would approach this.

The results were fascinating. The films, both by the Italian director Sergio Leone, reminded me of 19th-century Kabuki writer Kawatake Mokuami, whose tales of dried-up samurai and low-life villains punctured the heroics of classic Kabuki drama.   Continue reading

Charlottesville: The long, withdrawing roar

Let’s get this out of the way first: I have no love for the far-right extremists who marched through Charlottesville last week, not least because they want to kill me. When they go on about Jewish control of the government, media or whatever, what they’re saying is that Jews should be eliminated from this perceived position of power, however that might be accomplished. Not a pretty thought. Having been raised in Alabama in the 1960s, I’ve had plenty of exposure to far-rightists, including the Ku Klux Klan. On one memorable occasion, I was in the car with my brother waiting at a light when we were approached in the middle of the street by a hooded clansman. He came up to the driver’s side, passed me a pamphlet of some kind and moved on, saying, “Y’all have a nice day.” I was struck by the way he maintained the social niceties even as he promoted his racist bile. Evil comes in all packages.

Nevertheless, he and the crowd last week are citizens too. They have every right to march and spew their slime as long as they don’t resort to violence or make specific threats against individuals. They should be allowed to gather, say their say, and leave. Any intimidating behavior on their part should be dealt with forthwith by the authorities. But when opponents scream over them, wield weapons and prevent them from demonstrating peacefully, whatever their views, that is not exercising your freedom of speech; it’s violating theirs. Once they have had their say, you have the floor and can rant and rave and condemn them at your pleasure. And they do not have the right to stop you either. That’s the way it works.

Allowing the other side to speak out doesn’t just protect them. It protects you. I despise the far-left extremists who can’t accept that basic idea. (As it is, the far-left loathing for Israel will lead eventually and inevitably to oppression of Jews as well. So we get it either way. There’s plenty of evidence that this is already happening, like the Chicago lesbian parade in June that ejected lesbians carrying Jewish Pride flags. And given the proven violent tendencies of this group, I find them very scary.)

In any event, preventing citizens from speaking or gathering doesn’t make them disappear or convince them they’re wrong. Better to expose the hateful ideas to the light of day, where they will live or die on their own terms.

It must be said that the social system has been undermined in recent years by the actions of the judicial branch, which is increasingly taking over the role of the sclerotic legislative branch by overturning laws — effectively creating new ones — in areas like same-sex marriage, affirmative action and transgender issues. From the perspective of opponents, why have a vote in the first place? Unless there’s a compelling constitutional rationale (for same-sex marriage, the court cited the “dignity” of gay couples), citizens will feel that their vote is meaningless – that is, democracy has failed them. In addition, the constant harping on race makes permanent villains of innocent bystanders, pushing them into a corner where nothing they can do is right. At some point, that is going to have consequences.

Once faith in the system starts to crack, once people feel that their fate is being taken out of their hands, once the bond among citizens fades, what happens then? We might be seeing the answer in Charlottesville.

 

Sugimoto Bunraku: The Oil Hell Murder (杉本文楽:女殺油地獄)

  • 杉本文楽:女殺油地獄 (Sugimoto Bunraku: The Oil Hell Murder)

8/13/17 (Sun), Tokyo

This was a second crack at modernized Bunraku by the renowned photographer and artist Hiroshi Sugimoto. The first, which I saw almost exactly six years ago, was a fuller-than-usual version of the ever-popular Love Suicide at Sonezaki. That show incorporated scenes that hadn’t been performed in centuries, juggled the usual placement of singers and musicians on stage, and experimented with lighting and (naturally) photographic and video projections, among other innovations. Unfortunately, it fell victim to a hall far too large for a puppet drama, chosen presumably to pay for all that elaborate staging; Sugimoto’s many fans got their money’s worth, but Bunraku fans were left short changed. Still, the staid world of Bunraku can stand some shaking up, and the production had some worthwhile ideas. So I was looking forward to what he would do this time, especially in this smaller, more puppet-friendly theater. He chose another of Chikamatsu Monzaemon’s big hits, which centers on the brutal murder of a young woman by a heavily indebted youth.

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