KABUKI: The Holy Man of Mt. Koya (高野聖)

Kabuki: 高野聖  (The Holy Man of Mt. Koya)

10 July 2008 (Thurs), Tokyo Kabukiza

Having loved Tamasaburo in a recent Kabuki Cinema showing, I decided to see him live in this month’s unusual production. This was not one of the classics but Kabuki versions of two ghost stories by the Meiji writer Izumi Kyoka. Because of the casting with both him and the popular young heartthrob Ebizo (not to mention a poster with Tamasaburo half-removing Ebizo’s priestly robes), the tickets were said to be selling fast. As it turned out, there seemed to be plenty of open seats not only for the opening show but also for the main attraction. Continue reading

Kabuki Cinema: Furu America ni Sode wa Nurasaji (ふるあめりかに袖はぬらさじ)

ふるあめりかに袖はぬらさじ (Kabuki Cinema)

A high-definition film of the modern drama presented at the Kabukiza last December with Tamasaburo, Kanzaburo and a star-packed cast. I had missed the sellout show there and was eager to catch it this time. The show was adapted by the author from her novel in 1972 specifically for the great actress Sugimura Haruko, who I never saw on stage (though numerous times on film), and has been revived many times since. This was the first time in a Kabuki (i.e., all-male) staging. Continue reading

Cocoon Kabuki: The Summer Festival (夏祭浪花鑑)

夏祭浪花鑑 (The Summer Festival) (Cocoon Kabuki)

As my fourth straight show in the annual Cocoon Kabuki series (held at Shibuya’s Theatre Cocoon), this had a very familiar ring. I’ve seen this much-performed show in both its Kabuki and Bunraku versions, and remember especially vividly the great climactic scene, where the guy murders his father and quickly disposes of the body in the mud as the festival procession approaches. I ended up with seats on the floor – literally on the floor in traditional style, since there were no normal seats left for the afternoon show. But for all the discomfort, it’s more fun to be down close to the stage, and these particular seats, evidently the house seats (exactly the same as last year), are right at the equivalent of the key 7-3 spot on the hanamichi. So I wasn’t too unhappy with the arrangements.

The show was as fun as ever in its usual crowd-pleasing style, and the production was professional. But I had a slight feeling of déjà vu, a feeling that this was becoming somewhat formulaic. Continue reading

La Fille Du Regiment (Met Live)

La Fille Du Regiment (Met Live)

30 May 2008 (Fri), Tokyo

The final offering of this season’s Met Live opera film series of a performance from one month earlier. I had really been looking forward to this because of its star Natalie Dessay, who was so amazing in another Donizetti title role in the Met’s opener Lucia last October. I missed the film’s initial showing in Roppongi and wasn’t about to make the same mistake with this special encore performance. The theatre was quite full, but I got a nice seat from some lady with an extra ticket. (She seemed to pick me out of the line because she wanted to speak English. I was happy to oblige for a good seat.) She actually saw this performance live in NY last month and was so delighted that she wanted to watch it again. I took that as a good sign. Continue reading

Gypsy

Gypsy

9 May 2008 (Sat), Broadway

I had high hopes for Gypsy, one of everyone’s favorite shows. I had seen this on Broadway twice before with very different portrayals by Tyne Daly and Bernadette Peters, not to mention the Rosalind Russell movie and the TV production with Bette Midler. The show depends on a strong central performance, and Patti LuPone had brilliant reviews – she seems pretty much born to do this role. So I was looking forward to it.  Continue reading

Shunkin (春琴)

春琴  (Shunkin)

4 March 2008 (Tues), Tokyo Setagaya Public Theatre

This was an exploration of Tanizaki’s oft-staged novelette of the same name along with his famous essay “In Praise of Shadows”「陰翳礼賛」, both published in 1933. I’ve never been interested in seeing the play in the past nor had I seen any of the five film versions. This time, though, the director was Simon McBurney of Theatre de Complicité, who often works at this theater. I’ve been a fan of his physical style of theater for many years, including his intriguing version of the Murakami novel Elephant Vanishes 2-3 years ago. I waited too long to get tickets, as usual, but managed to get a 3F seat (fortunately in the center) on a weekday matinee. As it happens, the shows on this day had English subtitles, which turned out to be very fortunate. Over the weekend, I read the story, which is only 85 pages or so. It is a viciously cruel tale, but I can see where it lends itself to dramatization. With McBurney at the helm and the essay as part of the mix, I knew this was not going to be a straightforward telling. And I was right. Continue reading

When a Woman Ascends the Stairs (女が階段を上る時 )

女が階段を上る時 (When a Woman Ascends the Stairs)

2 March 2008

Keiko (Takamine Hideko) is the mama-san of a Ginza hostess bar in the late 1950s. In an image repeated many times throughout the film, we first see her climbing the narrow stairs to her establishment, a dreary ritual that she says in an overdub that she hates. Nevertheless, she notes that, once she’s up, she can handle anything. She was widowed quite young and at age 30 is standing dangerously on the brink of her sell-date. But she has pledged chastity to her late husband and is intent on maintaining respectability, adamantly refusing to mix sexually with the wealthy businessmen who patronize the bar. She stands up for the old values, for example continuing to wear a kimono unlike the Western dress of other hostesses. Her dream is to open her own place in Ginza, which would give her independence. But for that she would need a patron – and such patrons would be hard to come by without sexual favors. Meanwhile, her boss is complaining that she is losing business, and indeed several of her hostesses quit and steal her customers. Pressured by the expenses of keeping up a good front (perfumes, kimonos and such), falling revenues, the day-to-day grind of the business and family medical needs, she gradually allows her high morals to slip away.

Continue reading

A Wanderer’s Notebook (放浪記) – film

January 6, 2008

「放浪記」(A Wanderer’s Notebook or Her Lonely Lane) was one of the Naruse films that have recently been re-released on DVD. I loved his 流れる (Flowing) and 浮雲 (Floating Clouds), both of which were based on stories written by this film’s subject Hayashi Fumiko, and was interested to see more of his work. Continue reading

A Wanderer’s Notebook (放浪記) – stage

放浪記 (Horoki)

9 February 2008 (Sat), Tokyo

Having recently seen Naruse’s masterful if unsettling film version, I was eager to experience it on stage. Mori Mitsuko has apparently been doing this show since it opened in 1961 (she’ll hit her 1,900th performance in this three-month go-round) and is still selling out. They announced that she would not be doing her famous second-act somersault this time, which at age 80-something is understandable. But I sensed that the time is ticking for her and decided I’d better see her before she checks out of the role. Continue reading