Category Archives: Kabuki/Bunraku/Noh

Noh: Mitsuyama, Shokun (三山, 昭君)

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  • Noh: 三山, 昭君  (Mitsuyama, Shokun)

10/11/20 (Sun), Tokyo

I’ve seen shows at the Kanze and Kita schools in recent weeks, so now it’s Hosho’s turn (partly because I couldn’t get tickets for the sold-out Kanze performance). The shows today were both relative rarities. Each has the unusual feature of two characters entering after the break rather than just the star. The tickets were 70-80% sold, meaning 35-40% of the theater. I’m not sure how they make money on these, but I’m glad they’re pushing ahead. Continue reading →

Noh: Teika, Sesshoseki (定家、殺生石)

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  • Noh: 定家、殺生石 (Teika, Sesshoseki)

10/3/20 (Sat), Tokyo

It was encouraging to see a nearly full house for live theater — that is, the available tickets (50% of capacity) were nearly sold out. People are definitely hungry for entertainment. Tokyo actually now allows shows to perform at full capacity, which some productions (such as the sold-out Japanese version of the musical Billy Elliot) are taking full advantage of. But the Noh world remains conservative and cautious, maybe because of the higher average age of the audience. Continue reading →

Bunraku: Komochi Yamamba, Gonza the Lancer (嫗山姥, 鑓の権三)

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  • Bunraku: Komochi Yamamba, Gonza the Lancer (嫗山姥, 鑓の権三)

9/13/20 (Sun), National Theatre

These are the first Bunraku performances since the pandemic hysteria began six months earlier, and they’re still in ultra-cautious mode: taking temperatures, requiring masks, asking us to tear off our own ticket stubs, and, most consequentially for them, cutting the seat count drastically by leaving every other seat open (even for those seeing the show together) and closing off the entire section in front of the narrators, presumably to prevent virus-filled spit from hitting the audience. It was all extremely grating, but I guess we should be grateful that at least there was a show. There were unusually no English earphone guides this month for some reason, so my companions had to rely on the detailed summary provided in the program.

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Noh: Hanjo, Yugyo Yanagi (班女、遊行柳)

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  • Noh: 班女、遊行柳  (Hanjo, Yugyo Yanagi)

11/17/19 (Sun), Umewaka Noh Theater (Tokyo)

The pamphlet for today’s two shows say that they share an ambiguous ending that is supposed to make us wonder what happens to the characters thereafter. Both are also steeped in references to Chinese poetry, and I noted that they each refer in passing to the ancient Shirakawa Barrier in Fukushima, an oft-used place name in poetry and Noh plays that is associated with autumn.

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Kabuki: An Actor’s Revenge (新版 雪之丞変化 )

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  • Kabuki: 新版 雪之丞変化 (An Actor’s Revenge)

8/26/19 (Mon), Tokyo Kabukiza

Based on the hit 1934 novel and its many adaptations, including a stage show, an opera, a Takarazuka spectacle, several TV versions and two hugely successful films (1935 and 1963) both starring Hasegawa Kazuo. The Japanese title this time is preceded by “shinpan” or new version, suggesting a significantly revised work. Tamasaburo takes on the part of Yukinojo, an onnagata female-role specialist seeking to avenge his parents’ murder, thus nominally playing a man (albeit dressed and acting throughout as a woman). This seemed a natural fit for Kabuki since the story is after all about Kabuki actors, offering plentiful opportunity for show-within-a-show snippets, and Tamasaburo himself is the most famous onnagata on the stage today. He has directed and adapted this production.

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A look back: Sugimoto Bunraku “Sonezaki Shinju” (杉本文楽「曽根崎心中」)

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  • A look back: 杉本文楽「曽根崎心中」(Sugimoto Bunraku “Sonezaki Shinju”) ,

The huge popularity of Sonezaki Shinju (Love Suicide at Sonezaki) among Japanese Bunraku fans is in fact a recent phenomenon. It was a massive hit in its debut in 1703, famously rescuing its theater from bankruptcy, but fell out of favor for many years following a ban by concerned authorities on shows thought to glorify double suicides. A sensational revival of the Kabuki adaptation in 1953 that presented the lead female in a stronger light led to newfound interest in the Bunraku original, which was revived to great success in 1955. Its fame since has never waned.

With the Sugimoto Bunraku production of Sonezaki Shinju (Love Suicide at Sonezaki) soon to open in New York, I looked back and realized that I had never printed my review of the original production from August 2011 in Yokohama. So here it is below. (Also, here’s a look at Sugimoto’s production of another Bunraku classic in 2017.)

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Noh: Jinen Koji, Shozon (自然居士、正尊)

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  • Noh: 自然居士、正尊  (Jinen Koji, Shozon)

7/21/19 (Sun), Tokyo Umewaka Noh

Today’s offerings were both genzai Noh plays dealing with real-world events rather than ghosts. They date respectively from the beginning and end of the active period of Noh drama, the first by Noh’s esteemed founder Kan’ami and the second by the much later Yajiro Nagatoshi. They present a striking contrast, symbolizing how elegance and dance gave way to an emphasis on action in Noh’s evolution.

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Kabuki: Takatoki, Saigo and the Pig Princess, Suo Otoshi, The Medicine Peddler (高時, 西郷と豚姫, 素襖落, 外郎売)

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  • Kabuki: 高時, 西郷と豚姫, 素襖落, 外郎売 (Takatoki, Saigo and the Pig Princess, Suo Otoshi, The Medicine Peddler)

7/24/19 (Wed), Tokyo Kabukiza

This month’s performance was completely sold out on the strength of a six-year-old actor, son of superstar Ebizo, taking on a role usually played by an adult. The boy is often featured in his father’s widely followed blog, and Ebizo fever has basically enveloped him as well. The first three shows today were all Meiji or Taisho Era pieces that veer from traditional Kabuki in certain ways, while the last, in which the child appears, is a once-archaic Edo Era sketch that was revived/reconstructed in 1985.

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Bunraku: The Pine of the Abandoned Princess on Mt. Hibari, Akoya (鶊山姫捨松, 阿古屋琴責)

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  • Bunraku: 鶊山姫捨松, 阿古屋琴責 (The Pine of the Abandoned Princess on Mt. Hibari, Akoya)

2/4/19 (Mon), Tokyo

Both shows this month were torture pieces (if such a genre exists) showing the heroines under intense interrogation; both also unusually featured a Chinese kokyu. I was surprised to see empty seats in the theater, not a typical sight for Tokyo Bunraku. I had expected more of a crowd at least for the popular Akoya, especially as the Kabuki version had just played in December. They missed a great combination.

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Bunraku: The Almanac Maker (大経師昔暦)

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  • Bunraku: 大経師昔暦 (The Almanac Maker)

2/2/19 (Sat), Tokyo

This puppet piece by the prolific Chikamatsu Monzaemon, inspired by the adulterous relationship of an actual couple, debuted in 1715 on the 33rd anniversary of their death, an important Buddhist date. It’s one of three major adultery plays written by Chikamatsu (all of which were performed together a few years back in a day of infidelity — wish I could have seen that). It reappeared in various forms after its debut, including a major Kabuki adaptation, but like most of Chikamatsu’s works fell off the map for many years, known mainly as the basis for Mizoguchi’s brilliant film The Crucified Lovers (also known by the terrible title The Chikamatsu Story「近松物語」) . The play was unearthed during a Chikamatsu renaissance in the early 1980s, with the long-lost music newly composed based on scattered memos. And a masterpiece was reborn. This is the first revival of this piece in nine years.

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