Eternal Chikamatsu (エターナルチカマツ)

Eternal Chikamatsu

12 March 2016 (Sat), Tokyo

I decided rather on a whim to see this show, knowing only that it’s a riff on Chikamatsu Monzaemon’s 18th-century classic  Love Suicide at Amijima (心中天網島) where characters from that play somehow interact with similar modern-day counterparts. I was interested in remarks made by the director, David Leveaux, that suggested he (along with the scriptwriter) did not have a good understanding of the notion of suicide in the context of Chikamatsu’s shows. I like both the leads, Fukatsu Eri and Shichinosuke, so I figured it might be worth catching. Continue reading

Terrace of the Leper King (ライ王のテラス )

ライ王のテラス (Terrace of the Leper King)

3 March 2016 (Thurs), Tokyo

15 March 2016 (Tues), Tokyo

Tickets to Miyamoto Amon’s production of this Mishima work, its first large-scale revival in over 40 years, were completely sold out on the strength of its rising star Suzuki Ryohei (helped by a great poster with the sculpted Ryohei sitting shirtless front and center). I had read the play and couldn’t make much sense of the rambling theme, but the story itself was certainly dramatic. Also, the Cambodian setting offered promising design possibilities, and Amon had brought in dancers from the Royal Ballet of Cambodia and acrobats from a traditional Cambodian circus called Phare. I was ready for anything. Continue reading

Tairo Jo: Puppet Hamlet

Taira Jo’s Hamlet

27 February 2016 (Sat), Tokyo

A second tragedy by puppeteer Taira Jo after last month’s Medea. The performance was sold out, impressive in this theater (Ueno Bunka Kaikan, typically a concert hall). At three-and-a-half hours, including two intermissions, this is not a show for the faint hearted. This was the show’s first and only performance, part of a three-play series commissioned by the hall. Continue reading

KABUKI: Momijigari, Princess Aida (紅葉狩、愛駝姫)

KABUKI: 紅葉狩 (Momijigari)、愛駝姫  (Princess Aida)

8 October 2008 (Sun), Tokyo Kabukiza

The chief attraction here was the second half of the bill, a Kabuki adaptation of Aida directed by the ever-popular Noda Hideki. I’ve said before that I wouldn’t suffer again through Noda’s self-indulgent works, but I somehow convinced myself that I should see at least one of his Kabuki pieces since his other two were such big hits. On top of that, I felt that a Kabuki version of Aida is actually a workable idea. The show is supposedly a sellout, but I managed to get two seats early in the run. Unfortunately I couldn’t find anyone else as gullible as I am to buy the other ticket, so I took a half-interested friend along as a guest.

The good news first. Continue reading

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

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