Review: January 2019 New Year Kabuki: Part Two – Asakusa Kokaido Public Hall and the Kabukiza

Part two of a two part review!

Asakusa Kokaidō Public Hall Shinshun New Year Kabuki

The matinee kicked off with an Otoshidama – Nenshi Goaisatsu, a special kōjō (ceremony), for new year greetings during which one of the company appears on stage, on this occasion Onoe Matsuya, dressed in formal Edo era attire during which he described some of the conventions of Kabuki, highlights to watch out for in the upcoming performances and which are his favourite local hang outs.

…and of course the ever popular famous thief Ishikawa Goemon made his appearance with the first performance of the matinee in the very entertaining Edo style dance drama ‘Modorikago Iro ni Aikata’ (The Returning Palanquin). The two palanquin bearers, Yoshirō (Nakamura Tanenosuke), the chic one who is

Review: Tokyo Year End Kabuki – December 2018

Two reviews in one.

There were two main Tōkyō theatres holding end of year performances in December 2018. The National Theatre of Japan in Hanzōmon and the Kabukiza in Higashi Ginza, and a lucky attendance on the final auspicious day or senshūraku (lit. music of a thousand autumns, an old entertainment industry term for the final day of a performance run) at the Kabukiza andas a result was a full house.

The December 2018 Kabuki at the National Theatre of Japan was the Tōshi Kyōgen (full length play) Zoho Futatsu Domoe (The New and Improved Story of the

Review: Ehon Gappō ga Tsuji

 

Evening performance of the Grand April Kabuki at the Kabukiza Theatre, Tōkyō: 2 April – 26 April 2018.

Ehon Gappō ga Tsuji (’The Revenge of Gappō at the Crossroads’) is a ‘kizewamono’ (gangster play) which premiered in the 5^th lunar month of 1810 at the Ichimuraza Theatre in Edo (modern day Tōkyō). Dramatised by Tsuruya Namboku IV from a popular novel this rarely performed full length play (toshi kyōgen) was last staged in April 2012 at the National Theatre in Tōkyō with, as in this performance, the 74 year old veteran

Yago no Kai (Yajūrō–Shingo Company) European Tour 2016

A great introduction to an art which is still able to reach an overseas audience!

In Paris the Yago no Kai Kabuki Company’s performances took place in the Grande salle, the 300 seater theatre, at the Maison de la Culture du Japon à Paris (May 12-14).

Two other European countries are scheduled on their whistle-stop tour this May, in Switzerland at La salle Théodore Turrettini at the Bâtiment des Forces Motrices in Geneva (May 17 & 18), and in Spain Kabuki returns for the first time since 1987, after an

Book Review: Japanese Plays – Classic Noh, Kyogen And Kabuki Works

Nothing reflects the beauty of life as much as Japanese theatre!

The original Introduction gives a fairly detailed explanation of Noh, Kyōgen and Kabuki though there isn’t much in the way of explanations of each of the plays’ individual origins, historical context, or development, either in the Introduction or in the rest of the book at the beginning of each play, the intention perhaps to preserve the book in its original form. It would however perhaps have been helpful to provide some sort of reference material in say a selective bibliography, even if only for the most important plays.

Although this isn’t provided in the book’s current form research on the Internet would make it relatively easy to cross reference the plays on line to find more information even if the Internet is something that wasn’t available when the book was originally published in 1934. For example

Okamoto Kidō On The Kabuki Theatre Of The Meiji Period – Part Two

Second in a four-part series by kabuki collector Trevor Skingle!

Published as a series in 1935 and then in full as “Meiji Gekidan Ranpu no Moto ni te” (On the Theatre of the Meiji Period – Under the Lamp) by Iwanami Shoten in 1993. These extracts are from the serialisation which appeared in the late 1920s early 1930s in the Tokyo Kabukiza Monthly Kabuki Review magazine as

Okamoto Kidō On The Kabuki Theatre Of The Meiji Period – Part One

First in a four-part series by kabuki collector Trevor Skingle!

Published as a series in 1935 and then in full as “Meiji Gekidan Ranpu no Moto ni te” (On the Theatre of the Meiji Period – Under the Lamp) by Iwanami Shoten in 1993. These extracts are from the serialisation which appeared in the late 1920s early 1930s in the Tokyo Kabukiza Monthly Kabuki Review magazine as

Tokyo Kabukiza Monthly Kabuki Review April – May 1930

Second and final part of the Tokyo Kabukiza Monthly Kabuki Review series by Kabuki collector and researcher, Trevor Skingle!

The second of the Tokyo Kabukiza Monthly Kabuki Review magazines No. 64 covers the period 15^th April – 1^st May 1930. Unfortunately missing from the series is magazine No 62 covering the period from March – April 1930.

The magazine cover, from a print by Toyokuni III, depicts a scene from a Sankatsu-Hanshichi mono – dances or dramas whose main characters are the lovers Akaneya Hanshichi, the son of a sake merchant in the Yamato province, and Minoya Sankatsu, an Ōsaka courtesan. Both characters really existed and committed shinju, double suicide, on the

A True-Life Kabuki Crime Story: An Actor And His Geisha Mistress Murder Her Patron

An historical tale of love and murder that resulted in the death penalty!

Between 1868 – 1869 Kobayashi Kinpei, the boss of a successful money lending business, had prospered as a result of the economic downturn caused by the Boshin Wars between the Imperial and Shōgunate forces which led to the Meiji Restoration and the modernisation of Japan. In 1869 he met and bought the contract of a Geisha, Yoarashi Okinu and set her up in Saruwaka-cho in a shōtaku (a house in which a mistress is kept) and with a haneri (kimono under collar) shop in the