Category Archives: Kabuki/Bunraku/Noh

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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Bunraku: Roben and the Cedar Tree, Zoho Chushingura (良弁杉由来、増補忠臣蔵)

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  • Bunraku: 良弁杉由来、増補忠臣蔵  (Roben and the Cedar Tree, Zoho Chushingura)

9/15/18 (Sat), Tokyo

This year marks the 150th anniversary of the Meiji Restoration, and the National Theatre is featuring two productions from that era. After an astounding period of creativity, Bunraku had pretty much halted as a living art in the 18th century, and not many pieces were being written at this point. Whereas the Kabuki world was undertaking some dramatic experiments incorporating Western concepts, these puppet pieces stay safely within the bounds of their predecessors — which is fine when done as well as it is here.   Continue reading →

Kabuki: Yugen (幽玄)

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  • Kabuki: 幽玄 (Yugen)

9/12/18 (Wed), Tokyo Kabukiza

All the shows in this month’s evening performance were pieces derived from ancient Noh theater: Sanbaso, a comic take on the austere Okina; the great Shunkan, Chikamatsu Monzaemon’s brash reworking of the old drama; and a new dance piece by National Living Treasure Tamasaburo based on the classics Hagoromo, Shakkyo and Dojoji.

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Noh: Ukon, Yashima (右近、八島)

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  • Noh: 右近、八島 (Ukon, Yashima)

7/15/18 (Sun), Tokyo

The rarely performed Ukon is credited to Zeami, Noh’s towering genius, but was apparently revised to an unknown extent by his grandson Nobumitsu. While officially classified as a god-focused Waki Noh, it’s usually considered closer to a “third category piece” or female-centered Woman Noh. One actor told me that the stately Waki Noh tend to be boring and suspects that this piece may have been re-branded along the centuries to increase its appeal. That need may have prompted the grandson’s revision in the text, but it’s hard to know how much was changed or Zeami’s intentions in the absence of a manuscript; given that he was also a performer and thus writing for himself, he may not have been able to resist creating a juicy role in the first place. The play takes place amid the cherry blossoms, an odd choice for this blazingly hot season, but I suppose there aren’t many summer-based Noh plays to choose from compared to the vast number of shows set in spring.

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Mitani Bunraku: Much Ado About Love Suicides (其礼成心中)

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  • 其礼成心中 (Much Ado About Love Suicides)

I see they’re bringing back the Bunraku puppet parody Much Ado About Love Suicides (Sore Nari Shinju) of 2012 by the prolific stage and film writer Mitani Koki. The show riffs on the popular double-suicide (shinju) puppet dramas of the early 1700s by Chikamatsu Monzaemon, Japan’s most famous playwright. The highly conservative Bunraku world, unlike Kabuki, has made little attempt to innovate or attract new audiences and has struggled as a result. It has been left to individuals such as Mitani and the renowned photographer Sugimoto Hiroshi to take up the mantle. Mitani is primarily known as a comedy writer (Warai no Daigaku; Welcome Back, Mr. McDonald), so expectations were generally along those lines. Here is a review of the 2013 Tokyo revival.

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Noh: Kagetsu, Fujidaiko, Dai-e (花月、富士太鼓、大会)

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  • Noh: 花月、富士太鼓、大会  (Kagetsu, Fujidaiko, Dai-e)

6/17/18 (Sun), Umewaka Noh Theater, Tokyo

These pieces are not necessarily among the best known Noh dramas, so I was surprised to see the theater 85-90% full, a huge contrast from the many empty seats last time. Then I looked at the program: the Kyogen comic interlude (not described here) featured the TV and movie heartthrob Nomura Mansai. I guess Noh audiences are as star-struck as anyone. But it was heartening that nearly all remained for the last two pieces even after the Kyogen finished. Continue reading →

Kabuki: Money Talks (人間万事金世中)

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  • 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.

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Kabuki: Kumagai’s Battle Camp, Kojo, Gion Ichiriki Teahouse (熊谷陣屋、祇園一力茶屋)

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  • Kabuki: 熊谷陣屋 (Kumagai’s Battle Camp)、木挽町芝居前（口上） (Kojo Name-Announcing Ceremony)、忠臣蔵七段目（祇園一力茶屋）(Gion Ichiriki Teahouse)

2/16/18 (Fri), Tokyo

A friend was suddenly unable to attend and asked me to escort his date. It didn’t take much to convince me: this was the second month of a two-month name-taking celebration for three generations in the Matsumoto acting family, the first such occurrence in 37 years, and tickets had been sold out well before the show opened. The atmosphere was electric. Koshiro has taken the name Hakuo, Somegoro has become Koshiro, and Somegoro’s 12-year-old son Kintaro is now Somegoro. It’s going to take a while to get used to that.

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Bunraku: Shinju Yoi Goshin, Gappo’s Daughter Tsuji (心中宵庚申, 摂州合邦辻)

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Bunraku

  • 心中宵庚申 (Shinju Yoi Goshin), 2/12/18 (Sun), Tokyo
  • 摂州合邦辻 (Gappo’s Daughter Tsuji), 2/13/18 (Mon), Tokyo

Shinju Yoi Goshin (Double-Suicide on Koshin Eve): The penultimate show in the great Chikamatsu Monzaemon’s long career and his final sewamono (home drama), staged in 1722. It was based on an actual double-suicide that occurred, according to one source, only two weeks (!) earlier, though as usual interpreted creatively by the author. It apparently competed with another show staged simultaneously by his erstwhile rival Ki no Kaion on the same theme – they worked fast in those days. (Another source puts the actual suicide in the previous year, which would make more sense.) The production today didn’t include the curious first act, where Hanbei chooses a suitor for his younger brother – all males lusting after a male companion with surprising words of passion. The suitors point out that the castle town in the play doesn’t have any laws against this as exist elsewhere, and neither brother seems to have a problem with the boy becoming effectively a male wife. Hanbei chooses one who is willing to make a noble sacrifice. An interesting footnote in gay Japanese theater, if such a genre exists.

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