2 in Ôsaka (Shôchikuza), 9 shows in Tôkyô (National Theatre, Asakusa Kôkaidô, Shinbashi Enbujô, Theatre Ginza, Heisei Nakamuraza, Zenshinza Gekijô) and 1 in Kyôto (Minamiza)!

Sakata Tôjûrô, Ichikawa Danjûrô, Kataoka Gatô, Nakamura Kanjaku, Kataoka Hidetarô, Nakamura Senjaku and Ichikawa Ebizô perform at the Shôchikuza!

Matsumoto Kôshirô, Nakamura Fukusuke, Ôtani Tomoemon and Ichikawa Somegorô perform at the National Theatre!

Onoe Kikugorô, Nakamura Kichiemon, Bandô Mitsugorô, Nakamura Tokizô, Nakamura Baigyoku, Nakamura Kaishun, Nakamura Shibajaku and Onoe Kikunosuke perform at the Shinbashi Enbujô!

Nakamura Kanzaburô, Nakamura Hashinosuke, Nakamura Shidô, Bandô Yajûrô, Kataoka Kamezô and Nakamura Shichinosuke perform at the Heisei Nakamuraza!

Bandô Tamasaburô and Onoe Shôroku perform at the Theatre Ginza !

The Zenshinza troupe perform at the Minamiza!

Lots of young talented actors at the Asakusa Kôkaidô!

Sakata Tôjûrô, Ichikawa Danjûrô, Kataoka Gatô, Nakamura Kanjaku, Kataoka Hidetarô, Nakamura Senjaku, Ichikawa Ebizô, Ichikawa Ukon, Ichikawa Monnosuke, Ichikawa Emiya, Ichimura Kakitsu, Kataoka Ichizô, Kataoka Shinnosuke, Kamimura Kichiya, Sawamura Sônosuke

Tôshi kyôgen production of the spectacular drama "Narukami Fudô Kitayama Zakura", which was premiered in Ôsaka 270 years ago, in the 1st lunar month of 1742 in Ôsaka at the Ônishi no Shibai [casting]. Ichikawa Ebizô plays the roles of .

Domo Mata: the artist Matahei has been refused a professional name because of his stuttering. He makes a poor life by drawing folk paintings and decides to make one last effort to gain respectability. His wife Otoku, who is given as much to chatter as Matahei is silent, pleads his case. Turned down again by his master, Matahei decides to take his life. He draws a farewell portrait of himself, a painting so skillful that the lines seep through solid rock and this miracle convinces his master to confer a professional name. Starring Nakamura Kanjaku as Matahei and Kataoka Hidetarô as his wife Otoku.

Shuzenji Monogatari: a mask carver (Kataoka Gatô) has been ordered to make a portrait of Yoriie (Ichikawa Ebizô), the second Shôgun, but despairs of his artistic powers because no matter how many times he tries, the mask always shows the signs of death. But finally he learns that the mask holds the secrets of the tragic fate of Yoriie and his own daughter Katsura (Nakamura Senjaku). This modern play by Okamoto Kidô is probably the greatest classic of New Kabuki (Shinkabuki), a perfect blend of the technique of old Kabuki and modern ideas of drama.

Seki no To:
(The Snowbound Barrier)
A snow-covered barrier decorated by a mysteriously blooming cherry tree provides the background for the larger-than-life story of a traitorous aristocrat disguised as a barrier guard and the beautiful woman, actually a supernatural spirit in disguise, that will defeat him. Sakata Tôjûrô(the keisei Sumizome, in reality the spirit of Komachi's cherry tree, Ono no Komachi), Ichikawa Danjûrô (Sekibê, in reality Ôtomo no Kuronushi) and Ichikawa Ebizô (Yoshimine Munesada) star in what is considered to be one of the greatest Kabuki dance-dramas.

Narukami Fudô: in 1742, the actor Ichikawa Ebizô II (1688~1758) made a big gamble. His father Ichikawa Danjûrô I had created the bombastic aragoto style with exaggerated movements and red make-up to indicate strength but his career was cut short when he was murdered on stage. The big question was whether this vigorous style which was suited to the tastes of the brash new city of Edo would be acceptable to the more refined tastes of Ôsaka and Kyôto. He put together "Narukami Fudô Kitayama Zakura", a play showcasing the greatest hits of Ichikawa Danjûrô I and Ichikawa Ebizô II, including the plays "Narukami", "Kenuki" and "Fudô." "Narukami" is about a holy man who imprisons the rain god bringing a drought, who is then conquered by a beautiful woman sent to seduce him. When he finds that he has been betrayed, his anger transforms him into a thunder god. The play also includes a scene called "Kenuki" (The Whiskers Tweezers) about a powerful man who acts as a detective finding out why a princess's hair mysteriously stands on end. He finds the crucial clue when his fashionable whisker tweezers float in the air. Finally, Ichikawa Ebizô II appeared as the Buddhist deity Fudô Myôô, the god to whom he attributed his success. Originally all of these scenes were separate plays or routines that were inserted into other plays. The performance in Ôsaka was the first time that all of these scenes were combined with a story about conspirators trying to seize the imperial throne. Ichikawa Ebizô II's gamble paid off and he was not only a massive success in Kansai, he established his family's name as the top acting family in all of Japan. Starring Ichikawa Ebizô in 5 roles: Kumedera Danjô, the wicked priest Narukami, Prince Hayagumo, Abe Kiyoyuki and the Deity Fudô Myôô. Featuring also Nakamura Senjaku (Princess Taema), Nakamura Kanjaku, Ichikawa Ukon, Ichikawa Monnosuke and Ichikawa Emiya.

Sources: Earphone Guide website
Shôchiku Kabuki Official Website for "Narukami Fudô"

Matsumoto Kôshirô, Nakamura Fukusuke, Ôtani Tomoemon, Ichikawa Somegorô, Ichikawa Komazô, Matsumoto Kingo, Ichikawa Juen, Nakamura Utae, Matsumoto Kintarô, Ôtani Hirotarô, Ôtani Hiromatsu

Sannin Kichisa:
(Three Thieves Named Kichisa)
The late 19th century playwright Kawatake Mokuami excelled at plays about thieves and this play is considered to be one of his greatest. Three thieves, all with the name Kichisa, meet on a riverbank. Ojô Kichisa (Nakamura Fukusuke) was once a Kabuki onnagata and robs in the guise of a woman. Obô Kichisa (Ichikawa Somegorô) is a handsome young man while Oshô Kichisa (Matsumoto Kôshirô) has more weight and stature as the head of a derelict temple. Though they start out as rivals, they decide to become blood brothers and form a gang. The three are bound by fate in many ways, with the crimes of one leading to hardship of the family of another. But the same sins and crimes also lead to rescue and salvation. The play combines dark drama with the most beautiful of poetry. In the famous scene on a riverbank Ojô Kichisa kills a young prostitute and then speaks in the playwright’s famous rhythmical speech of the moon on a hazy night and the gold coins that have fallen into his hands. Soon, these gold coins will link together the three thieves named Kichisa, and in turn, draw these three into a larger drama of crime and retribution. The play combines the playwright Kawatake Mokuami's gritty depiction of the lowest levels of society with intoxicatingly beautiful music and poetry to bring life to his vision of the cycles of sin and retribution.

Yakko Dako Sato no Harukaze:
(The Kite Shaped Like a Samurai Footman)
This is a dance originally written by Kawatake Mokuami that fancifully shows a Kabuki actor as a kite flying through the sky. This play has long existed only as a playscript and will have newly composed music and choreography as a light-hearted event to celebrate the New Year’s season.

Source: Earphone Guide website

Onoe Kikugorô, Nakamura Kichiemon, Bandô Mitsugorô, Nakamura Tokizô, Nakamura Baigyoku, Nakamura Kaishun, Nakamura Shibajaku, Onoe Kikunosuke, Nakamura Kinnosuke, Sawamura Tanosuke, Ichikawa Sadanji, Ichikawa Danzô, Bandô Hikosaburô, Nakamura Tôzô, Nakamura Matagorô, Nakamura Karoku, Kawarasaki Gonjûrô, Ichimura Manjirô, Bandô Shûchô, Ôtani Keizô, Sawamura Yoshijirô, Bandô Kamesaburô, Bandô Kametoshi, Nakamura Matsue, Onoe Matsuya, Nakamura Baishi, Nakamura Takanosuke, Fujima Taiga

Aioi Jishi: shishi (mythical lion-like spirits) are usually thought of as vigorous masculine creatures, but when shishi dances were first adapted for Kabuki from the classical Nô theatre, they were danced by actors portraying an elegant, feminine atmosphere. This dance is one of the earliest in the genre and stars onnagata female role specialists. Featuring Nakamura Kaishun and Nakamura Shibajaku.

Kinkakuji: "Kinkakuji" retains the epic scale of plays adapted from the Bunraku puppet theater and is full of miracles and larger-than-life characters common on the puppet stage. It is full of the classical forms of all kinds of stylized characters and the role of Princess Yuki is considered to be one of the most difficult and beautiful roles for an onnagata female role specialist. Matsunaga Daizen (Bandô Mitsugorô) has defeated the Shôgun and has set up base in the Golden Pavilion. The brilliant strategist Hisayoshi, disguised as a disgruntled retainer named Tôkichi (Nakamura Baigyoku), pretends to come under Daizen's employ to try to sabotage his plans from within. Princess Yuki (Onoe Kikunosuke) is being held prisoner by Daizen, but is able to free herself by drawing a mouse in the cherry petals of the tree that she is tied to. It comes to life and chews the ropes holding her. Starring the best of the actors in their prime in a production sure to be full of fire and excitement. Featuring also Nakamura Kinnosuke, Nakamura Tôzô and Nakamura Karoku.

Kagatobi: the firemen serving the fabulously wealthy Kaga clan were famous for their colorful spirit. This play features a short pageant of these firefighters combined with a dark story of the sinister masseur Dôgen who uses murder, theft and extortion to satisfy his lust and greed. The actor playing Dôgen doubles as one of the gallant bosses of the firefighting gang alongside the firefighter that unmasks Dôgen’s villainy. Starring Onoe Kikugorô as Dôgen and Nakamura Kichiemon as Matsuzô, the firefighter that defeats him. Featuring also Nakamura Tokizô, Bandô Mitsugorô, Ichikawa Danzô, Nakamura Kinnosuke, Onoe Kikunosuke, Bandô Hikosaburô, Ichikawa Sadanji and Nakamura Matagorô.

Ya-no-Ne: like a picture come to life, this play combines the most exaggerated costumes and movements with leisurely humor. The aragoto hero Soga no Gorô is sharpening a giant arrow and sleeping in wishes of good fortune for the New Year when he sees his brother Jûrô in a dream asking him to come and rescue him. The two Soga brothers are part of one of the most popular vendetta stories in Kabuki, suffering for eighteen years before being able to avenge the death of their father. In this play, when Gorô finds out that his brother is in trouble, he jumps on the horse of a passing daikon vendor and, brandishing a giant daikon as a whip prepares to rush to his brother's side. Starring Bandô Mitsugorô and Sawamura Tanosuke as Gorô and Jûrô.

Renjishi: 2 entertainers dance a tale of the legendary shishi or lion-like spirits that live at the foot of a holy Buddhist mountain. There is a comic interlude with 2 Buddhist pilgrims. Then, the shishi themselves appear and perform their dance with wild shaking of their long manes. The dance shows a parent shishi forcing his cub to undergo harsh training in order to grow up strong. This theme is often associated with the training a parent actor gives his son. This performance features Nakamura Kichiemon in the role of the parent shishi and Nakamura Tomijûrô's son Nakamura Takanosuke in the role of the cub. This dance celebrates the 1st anniversary of the passing away of Living National Treasure Nakamura Tomijûrô.

Megumi no Kenka: they used to say that fights and fires were the flowers of the city of Edo and many plays feature the gallent members of firefighting troupes, who were popular heroes. This particular play depicts a rivalry between the members of the Megumi firefighting band and a group of sumô wrestlers, which ultimately is a confrontation between the firefighters, who represent the commoner class and the samurai patrons of the sumô wrestlers. The fight begins with a minor incident, but grows into a situation of such tension, that when Tatsugorô, the leader of the firefighting gang, goes to his final fight, he goes with the full intention that this may be a fight to the death. Before he leaves, he has an emotional parting from his family. Featuring Living National Treasure Onoe Kikugorô as Tatsugorô and Ichikawa Sadanji as the leader of the group of sumô wrestlers.

Source: Earphone Guide website

Nakamura Kanzaburô, Nakamura Hashinosuke, Nakamura Shidô, Bandô Yajûrô, Kataoka Kamezô, Nakamura Shichinosuke, Nakamura Baishi, Bandô Shingo, Nakamura Mantarô

The Heisei Nakamuraza is back in Tôkyô in the popular district of Asakusa. This time, it is a 7-month project (performances up to May 2012!) for this temporary theater built within the Sumida Park.

Torii Mae:
(In Front of the Fushimi Inari Shrine)
This is a short scene showing the troubles of Yoshitsune after his brother Yoritomo, the Shôgun, turns against him. Yoshitsune (Nakamura Mantarô) is forced to flee from the troops sent by his brother Yoritomo. The trip will be hard and he decides he must leave behind his lover Shizuka Gozen (Nakamura Baishi), despite her passionate pleas to remain with him. As a reminder of himself, he presents her with a precious hand drum that he had received from the emperor. Yoshitsune's retainer Tadanobu (Nakamura Shidô) rescues Shizuka from Yoritomo's troops and Yoshitsune decides to have Tadanobu protect her on the road, not knowing that this Tadanobu is actually a magical fox in disguise.

Migawari Zazen: a dance play adopted from a classical kyôgen farce. A man (Nakamura Kanzaburô) wants nothing more than to visit his lover Hanako, but he has one important problem, his homely and overbearing wife (Bandô Yajûrô). He creates a scheme saying that he will be practicing Zen meditation all night and has his servant (Nakamura Shidô) take his place while he visits Hanako. He returns, giddy from a night of pleasure and tells his story to his servant in dance, unaware that his wife has discovered his deception and has taken his servant's place.

Naozamurai: the thief Naozamurai has been betrayed and is on the run. He risks one last meeting with his lover, the courtesan Michitose, but he has never revealed his true identity to her and as far as she knows, he is a wealthy merchant. On a freezing, snow-bound night, in a romantic scene accompanied by the lush and erotic singing of Kiyomoto narrative music, the two lovers Naozamurai and Michitose meet and part forever. Starring Nakamura Hashinosuke as Naozamurai and Nakamura Shichinosuke as Michitose.

Soga no Taimen: this is one of the oldest and most classical of all Kabuki plays. In the Edo period, every January, plays appeared about the vendetta carried out by the Soga brothers Jûrô and Gorô after eighteen years of hardship. In "Soga no Taimen" the brothers confront Kudô Suketsune, the man responsible for their father's death. More ceremony than play, it features each of the important Kabuki character types, including the bombastic aragoto style of Gorô and the soft wagoto style of Jûrô. This month features a cast headed by Bandô Yajûrô as Kudô and some of the most popular young stars in Kabuki with Nakamura Hashinosuke as Gorô and Nakamura Kanzaburô as Jûrô.

Osome no Nanayaku:
(The 7 roles of Osome)
The story of the love suicide of Osome, the daughter of a wealthy merchant and Hisamatsu, a handsome young man that was an apprentice in her family's shop, is one of the most popular stories in Kabuki and was dramatized countless times. In 1813, Tsuruya Nanboku IV (1755~1829) wrote up this story as a showpiece for Iwai Hanshirô V, an onnagata specialist in female roles. One actor plays seven of the major roles in the play: Osome, Hisamatsu, the poor Osaku, Omitsu (Hisamatsu's official fiance), Hisamatsu's sister Takegawa, the geisha Koito, Osome's mother Teishô and a snake charmer named Oroku. Onnagata young actor Nakamura Shichinosuke makes a virtuoso appearance in this play, acting in all seven roles, including the fastest on-stage fast change in all Kabuki. Also featuring Nakamura Hashinosuke as Oroku's fiance Kimon no Kihê.

Source: Earphone Guide website

Ichikawa Kamejirô, Kataoka Ainosuke, Nakamura Kikaku, Ichikawa Omezô, Bandô Takesaburô, Ichikawa Shun'en, Bandô Shinsha, Bandô Minosuke, Nakamura Kashô, Nakamura Kazutarô

The yearly show for young promising actors at the Asakusa Kôkaidô in Asakusa, a lively and colorful neighboorhood that keeps the scent of old Edo.

Otoshidama: a special kôjô for new year greetings (nenshi goaisatsu in Japanese) with all young stars on stage.

Hakkenden:
(The Eight Dog Warriors)
the original novel is an immense epic by 19th century novelist Takizawa Bakin published over many years, but eventually reaching one-hundred and sixty volumes. The Satomi clan is being attacked and its lord offers his daughter Princess Fuse to the warrior that will bring him the head of the enemy. It is his loyal dog that kills and beheads the enemy and, saying that her father must not go back on his word, Princess Fuse goes with the dog. Nevertheless, the Satomi clan is defeated and one of its loyal retainers goes to rescue Princess Fuse, shooting the dog, but unfortunately shooting Princess Fuse as well. The eight crystal beads of her rosary, each engraved with the Chinese characters of one of the Confucian virtues, goes flying through the air. Miraculously, each will be found with a newborn baby. These eight children, all of whom have the character inu for "dog" in their names, eventually meet and join together to restore the Satomi clan. The play features all the stars of the company and follows the adventures of the eight dog warriors as they meet and gradually join together, leading to a climactic fight on the roof of a dizzyingly high tower. Featuring Ichikawa Kamejirô, Kataoka Ainosuke, Bandô Takesaburô, Ichikawa Omezô, Bandô Minosuke, Ichikawa Shun'en, Bandô Shinsha, Nakamura Kikaku, Nakamura Kashô and Nakamura Kazutarô.

Yoshidaya: the roots of this play go back to the earliest days of Kabuki. Izaemon, the son of a wealthy family, has been disowned for loving a courtesan and now has nothing but a paper kimono. This role is a classic example of the wagoto or soft style of acting that is one of the representative acting styles of the Kansai region. Kataoka Ainosuke stars as Izaemon, a role that is a specialty of his family's Kansai acting style. Featuring Nakamura Kazutarô as the courtesan Ôgiya Yûgiri (Izaemon's lover), Bandô Takesaburô and Ichikawa Shun'en as the proprietor and proprietress of the Yoshidaya teahouse.

Tengajaya: "Tengajaya" was first performed in 1781 in Ôsaka, dramatizing a true event that occurred over a century earlier. It is in the classical vengeance play form, following the sufferings of the brothers Iori (Nakamura Kikaku) and Genjirô (Bandô Minosuke) as they search for Tôma (Kataoka Ainosuke), the killer of their father. Iori first falls ill and then is wounded by the enemy and finally ends up living in a shack as a beggar where he is killed by the enemy. But the real reason for the continuing popularity of this is not due to the historical incident, which has long since been forgotten, nor because it is a vengeance play since there are other, much more popular vendetta plays. Originally the role of the servant Motoemon (Ichikawa Kamejirô), a retainer of Iori's family who goes over to the enemy side was very small, but the actor Ôtani Tomoemon IV transformed it into a brilliant, virtuoso role. At first Motoemon is supposed to guard his lord, but fails due to his weakness for drink. He promises his brother Yasuke (Ichikawa Kamejirô) to stop drinking, but is tricked by the enemy into getting dead drunk and during this time, Tôma kills his lord. Motoemon is ready to kill himself to atone, but instead decides to go to the enemy side. There is no trick he will not stoop to, in order to turn things to his advantage. For example, Motoemon tells his brother (who is still loyal to Iori) that he has become blind due to illness, no doubt punishment for his evil arts, and asks for charity. But in fact, he soon sneaks in, kills his brother and wounds Iori, all in order to protect his new lord Tôma. But in the end, Genjirô avenges his father's death with the help of former retainers of his father's clan.

Source: Earphone Guide website

Bandô Tamasaburô, Onoe Shôroku, Ichikawa Emisaburô, Onoe Ukon, Ichikawa En'ya

Kôjô: Bandô Tamasaburô offers New Year's greetings to the audience in a traditional kabuki stage announcement..

Imoseyama: "Imoseyama Onna Teikin", is a masterpiece by Chikamatsu Hanji (1725~1783) first presented in 1771 in the puppet theater. It is an epic taken from early Japanese history, weaving together history, legend and myth. The country chafes under the domination of the dictator Iruka. The two scenes from this epic classic show love and jealousy in a realm ruled by an evil dictator.

Michiyuki Koi no Odamaki:
(The Spool of Love)
Motome (Ichikawa Emisaburô), the son of an important aristocrat opposed to the rule of the dictator Soga no Iruka is secretly planning to kill him. Having disguised himself as a commoner, he has had nightly trysts with a mysterious woman, an elegant princess (Onoe Ukon). In this dance, he has attached a string to her kimono to follow her and discover her identity. But Motome is followed as well by Omiwa (Bandô Tamasaburô), the beautiful daughter of a humble sake shop owner who has fallen in love with him during his time living undercover as a humble maker of court caps.

Mikasayama Goten:
(The Mikasayama Palace Scene)
The dictator Soga no Iruka (Ichikawa En'ya) has set up his own court and now seeks to destroy his opponent Kamatari. A mysterious fisherman named Fukashichi (Onoe Shôroku) comes as a messenger from Kamatari, claiming to bring a message of surrender. Meanwhile, Iruka's younger sister, Princess Tachibana (Onoe Ukon) has fallen in love with a handsome young man named Motome (Ichikawa Emisaburô). But Motome is actually the son of Kamatari and says that he will only grant her love if she will cut off Iruka's head. Moreover, a country girl named Omiwa (Bandô Tamasaburô) has also followed Motome. Omiwa's blood and the work of all these people combined are what is necessary to finally defeat the magical powers of the evil Iruka.

Sources: Shôchiku Kabuki Official Website

Nakamura Umenosuke, Arashi Keishi, Kawarasaki Kunitarô, Fujikawa Yanosuke, Arashi Yoshisaburô, Yamazaki Tatsusaburô, Ikushima Kigorô, Matsunami Kihachirô

The Zenshinza troupe celebrates in Kyôto its 80th anniversary!

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A newly-created Kabuki drama performed by the young actors of the Zenshinza troupe. The script was written by Ôzakaya Happo.