1 in Ôsaka (Shôchikuza), 7 shows in Tôkyô (Kabukiza, National Theatre, Asakusa Kôkaidô, Shinbashi Enbujô) and 1 in Kyôto (Pontochô Kaburenjô)!

Living National Treasure Sakata Tôjûrô, Living National Treasure Nakamura Kichiemon, Living National Treasure Nakamura Tôzô, Matsumoto Hakuô, Matsumoto Kôshirô, Ichikawa Somegorô, Nakamura Shikan, Nakamura Jakuemon, Nakamura Ganjirô, Nakamura Senjaku, Kataoka Takatarô, Ichikawa Sadanji, Bandô Yajûrô, Kataoka Hidetarô, Ichikawa Ennosuke, Nakamura Shichinosuke, Kataoka Ainosuke, Nakamura Kankurô, Nakamura Karoku, Nakamura Matagorô, Ichikawa Monnosuke and Ichikawa Komazô perform at the Kabukiza!

Living National Treasure Bandô Tamasaburô and Nakamura Kazutarô perform at the Shôchikuza!

Living National Treasure Onoe Kikugorô, Nakamura Tokizô, Onoe Kikunosuke, Onoe Shôroku, Ichikawa Danzô, Bandô Rakuzen, Kataoka Kamezô, Bandô Hikosaburô, Bandô Kamezô, Kawarasaki Gonjûrô and Ichimura Manjirô perform at the National Theatre

Ichikawa Ebizô, Ichikawa Udanji and Nakamura Shidô perform at the Shinbashi Enbujô!

The Zenshinza troupe perform at the Pontochô Kaburenjô!

Lots of young talented actors at the Asakusa Kôkaidô!

Living National Treasure Sakata Tôjûrô, Living National Treasure Nakamura Kichiemon, Living National Treasure Nakamura Tôzô, Matsumoto Hakuô, Matsumoto Kôshirô, Ichikawa Somegorô, Nakamura Shikan, Nakamura Jakuemon, Nakamura Ganjirô, Nakamura Senjaku, Kataoka Takatarô, Ichikawa Sadanji, Bandô Yajûrô, Kataoka Hidetarô, Ichikawa Ennosuke, Nakamura Shichinosuke, Kataoka Ainosuke, Nakamura Kankurô, Nakamura Karoku, Nakamura Matagorô, Ichikawa Monnosuke, Ichikawa Komazô

The traditional two programs for the New Year Grand Kabuki at the Kabukiza, which celebrate the first month of the 3-generation Kôraiya shûmei (Kôraiya Sandai Shûmei) of Matsumoto Hakuô II, Matsumoto Kôshirô X and Ichikawa Somegorô VIII.

Izari no Adauchi: this is an act of a jidaimono (history play) set in the 16th century. After losing his elder brother in a surprise attack, Iinuma Katsugorô (Nakamura Kankurô) marries Tsukumo Shinzaemon's daughter, Hatsuhana (Nakamura Shichinosuke). While in pursuit of his brother's foe, Takiguchi Kôzuke (Kataoka Ainosuke), Katsugorô becomes crippled by a disease. Hatsuhana must pull him along in a cart all the way to Hakone where their enemy now resides. Kôzuke is in love with Hatsuhana, but she does not return his affections. Kôzuke abducts her, but she manages to escape, and goes to Shiraito Waterfall. There, standing under the freezing cascade, she prays to the deity of Hakone Shrine for Katsugorô's recovery. Miraculously, his legs are cured. However, just at that moment, his footman Fudesuke (Kataoka Ainosuke) comes carrying Hatsuhana's head and says that she was killed by Kôzuke! The woman who returned earlier was, in fact, Hatsuhana's spirit. Now that he has recovered from the disease, Katsugorô makes up his mind to find Kôzuke and to avenge the deaths of his brother and his wife. Featuring also Kataoka Hidetarô in the role of Hatsuhana's mother Sawarabi.

Shichi Fukujin: This is a dance suitable for the New Year. The Seven Gods of Good Fortune (shichi fukujin), namely Ebisu (Nakamura Matagorô), Benzaiten (Nakamura Senjaku), Jurôjin (Bandô Yajûrô), Fukurokuju (Ichikawa Monnosuke), Hotei (Ichikawa Komazô), Bishamon (Nakamura Shikan) and Daikokuten (Nakamura Ganjirô), are said to bring fortune and luck to people. They appear on a treasure ship and dance celebrating the New Year.

Sugawara Denju Tenarai Kagami:
(Sugawara and the Secrets of Calligraphy)
Sugawara no Michizane (known in this play as Kan Shôjô) was a high-ranking imperial court minister who was a brilliant calligrapher and scholar. But political rivalries forced him to be exiled to distant Kyûshû, where he died. After Michizane's death, a series of disasters in the imperial capital were attributed to his angry spirit and he was appeased by being made a god known as Tenjin, and he is now revered as the god of learning. His story was dramatized as an epic puppet drama in 1746 and the play remains a favorite in both Kabuki and the Bunraku puppet theatre.

Kurumabiki:
(The Tug-of-War Over the Carriage)
There are three brothers serving three masters. Umeômaru serves Kan Shôjô. Sakuramaru serves imperial prince Tokiyo. Kan Shôjô has been sent into exile and Tokiyo is in disgrace. Umeômaru (Nakamura Kankurô) and Sakuramaru (Nakamura Shichinosuke) lament the disaster that has overtaken their masters. But they hear that the carriage of Fujiwara no Shihei (Bandô Yajûrô) is coming. Shihei is the villain that has sent Kan Shôjô into exile. But when the two brothers confront the carriage, they are stopped by their brother Matsuômaru (Matsumoto Kôshirô), who serves Shihei. Nonetheless, they attack the carriage and are driven back by the magical powers of Shihei. The three brothers agree to meet again at the seventieth birthday of their father, Shiratayû.

Terakoya:
(The Village School)
Genzô (Nakamura Baigyoku) and his wife Tonami (Nakamura Jakuemon) run a small school and are protecting Kan Shôjô's son and heir, saying that he is their son. However, word has gotten out Kan Shôjô's son is there and Genzô has been ordered to behead him. Moreover, Matsuômaru (Matsumoto Hakuô) is to come to inspect the head. Their only alternative is to kill one of the other students as a substitute, but all of the students are farmer's children who could never pass for the son of a court aristocrat. However, a new boy arrives that day and Genzô makes the terrible decision to kill him in the place of his lord. As it turns out, Matsuômaru has sent his own son to be sacrificed, because of his family's long loyalty to Kan Shôjô. But he must face the most terrible situation for a father, inspecting the head of his own son and lying when he says that it is the genuine head of the son of Kan Shôjô. Finally Matsuômaru reveals his true feelings to Genzô and he and his wife Chiyo (Nakamura Kaishun) mourn their dead son. Featuring also Living National Treasure Sakata Tôjûrô, Living National Treasure Nakamura Tôzô and Ichikawa Sadanji as Sonoo-no-Mae, the farmer Gosaku and Shundô Genba.

Sumôba: "Futatsu Chôchô" means "two butterflies" and also comes from the fact that two sumô wrestlers who play important roles in the full length play have names beginning with "chô": Chôkichi and Chôgorô. In order to help his master Yamazakiya Yogorô (Kataoka Ainosuke) buy out the contract of the beautiful Azuma (Nakamura Shichinosuke), the senior wrestler Nuregami Chôgorô throws a match, letting the younger wrestler Hanaregoma Chôkichi win, hoping to get his help. But Chôkichi loses his temper and the two end up competing in a test of pride. Starring popular actor Nakamura Shikan as Chôgorô and Kataoka Ainosuke as Chôkichi.

Kôjô: the close relationship between the actors and the audience is shown by these stage announcements, lavish ceremonies to commemorate various important events. In this case, all the stars of the cast assemble to celebrate the shûmei of Matsumoto Hakuô II, Matsumoto Kôshirô X and Ichikawa Somegorô VIII.

Kanjinchô: probably the most popular Kabuki play today, it includes dance, comedy and the heart-warming pathos of a band of heroes during their last days. Disguised as a band of traveling priests the fugitive general Yoshitsune and his small band of retainers are stopped at a road barrier. They escape only through the quick thinking of the head retainer, a warrior priest named Musashibô Benkei, who improvises the text of an elaborate imperial decree. Having escaped danger Benkei and the others describe their days of glory and hardships on the road to escape in a moving dance. This program stars Matsumoto Kôshirô in the role of Benkei, with Ichikawa Somegorô and Living National Treasure Nakamura Kichiemon as Yoshitsune and the barrier keeper Togashi. Featuring also Nakamura Shikan, Nakamura Ganjirô, Kataoka Ainosuke and Nakamura Karoku in the roles of Yoshitsune's retainers.

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 Senjaku and Kataoka Takatarô.

Mitsu Ningyô:
(The Three Dolls)
The characters in this graceful dance are not actually dolls, but are three characters that are often depicted with dolls, a courtesan (Nakamura Jakuemon), a handsome youth (Nakamura Ganjirô) and a samurai footman (Nakamura Matagorô).

Sources: Earphone Guide Website or Shôchiku Kabuki Official Website

Living National Treasure Bandô Tamasaburô, Nakamura Kazutarô

A special Buyô program at the Shôchikuza starring Living National Treasure Bandô Tamasaburô.

Kôjô: the close relationship between the actors and the audience is shown by these stage announcements, lavish ceremonies to commemorate various important events.

Genroku Hanami Odori:
(Viewing the Cherry Blossoms in the Genroku Period)
It is in the Genroku period (late 17th century) and the cherry blossoms are in full bloom on the hill of Ueno in Edo (present day Tôkyô). Men and women dressed up in showy outfits gather to view cherry blossoms and begin to dance. After the song about the custom of flower viewing in Kyoto, the drunken people start a lively dance. The dance under the cherry blossoms continues endlessly. Starring Living National Treasure Bandô Tamasaburô and Nakamura Kazutarô.

Aki no Irokusa:
(Various Flowers of Autumn)
This work was originally composed in 1845 as Nagauta music to celebrate the completion of the retreat for the lord of the Nanbu clan in Edo, and it was performed as a dance later. The lyrics include various plants of autumn such as wild bush clover, pampas grass and patrinia scabiosaefolia in its verse and is known as an excellent piece about that season. It is autumn. Various flowers of autumn bloom and the chirping of pine crickets is heard. A lady who stands quietly listening to the chirping insects, remembers the old story that King Xiang of the ancient Zhou (Shû in Japanese) dynasty had an affair with the goddess of the Wu Mountains (Fuzan in Japanese) in a dream, and she compares it to her own love. Having thought about her lover, she realizes that the pleasure of the four seasons does not change after many years and begins to dance. Starring Living National Treasure Bandô Tamasaburô and Nakamura Kazutarô.

Sagi Musume: one of the most famous dances in Kabuki, this figure is familiar through pictures and Japanese dolls. A beautiful young woman all in white appears in the snowy landscape. She dances lightly of love, but then reveals that she is the spirit of a bird, a magnificent heron that struggles wounded through a snowstorm. Starring Nakamura Kazutarô in a dance that he has made famous through performances around the world.

Keisei: a beautiful top-rank courtesan (keisei) with her attendants makes parade along the Nakanochô Boulevard of the Yoshiwara pleasure quarter in Edo. She enters a room in the brothel and expresses her pure love for her lover in a graceful manner, though complaining that he does not come how long she waits for him. Then she expresses in dance the scenic beauty in each season and the elegant atmosphere in the pleasure quarters, and her love for him grows stronger. A scene from a seven-transformation hengemono "Nijirigaki Nanatsu Iroha", this is an old-fashioned, tasteful dance. Enjoy the cultured elegance of the top-rank courtesan in the pleasure quarters acted by Living National Treasure Bandô Tamasaburô with his new direction in the performance at Nissay Theatre in October 2011.

Sources: Earphone Guide Website or Shôchiku Kabuki Official Website

Living National Treasure Onoe Kikugorô, Nakamura Tokizô, Onoe Kikunosuke, Onoe Shôroku, Ichikawa Danzô, Bandô Rakuzen, Kataoka Kamezô, Bandô Hikosaburô, Bandô Kamezô, Kawarasaki Gonjûrô, Ichimura Manjirô, Nakamura Baishi, Nakamura Mantarô, Onoe Ukon, Bandô Shûchô, Ichimura Takematsu, Ichimura Kitsutarô

"Sekai no Hana Oguri Hangan" is a revival and a revised version of Chikamatsu Tokuzô and Nagawa Tokusuke I long-forgotten drama "Hime Kurabe Futaba Ezôji", which was premiered more than 217 years ago, in the 10th lunar month of 1800 in Ôsaka at the Kado no Shibai.

Sekai no Hana Oguri Hangan:
(Oguri Hangan, the Flower of the World)
The legend of Oguri Hangan has been handed down since the Medieval Period. The story of Oguri Hangan and his sweetheart Princess Terute, how they overcome hardships after passing each other, was taken into sermon ballad and recited, connected with the origin or the tales of miracles of temples and shrines in each place. This story of the sermon ballad was adapted for Kabuki and Bunraku many times to fit the circumstances and taste of each period. The definitive version is "Hime Kurabe Futaba Ezôji" which took in the ideas and settings of preceding works placing unique characters with changing seasons as a background. This month’s performance is based on this version. It is under the rule of Asikaga Yoshimitsu, the third Shôgun of the Muromachi shogunate. Kazama Hachirô, a robber who plans to avenge himself on the Ashikaga clan and control the nation, robs Kachidoki no Kutsuwa (the bits commemorating the shout of victory) and Suiseimaru no Tsurugi (the sword Suiseimaru), the heirlooms of the Ashikaga clan. Hosokawa Masamoto, the regent of the Ashikaga clan, tries to stop Kazama’s ambition. Oguri Hangan whose father was killed by Kazama searches the lost heirlooms and his whereabouts. There are many highlights in this play in which you can realise how interesting kabuki is: the intrigue by the notorious and impressive robber Kazama Hachirô, a stunt horse riding by a good horseman Oguri Hangan, strategic politics between Kazama and Masamoto, the desperate loyalty and fierce fight scene by Namishichi, a former retainer of Oguri clan, who saves the crisis of Princess Terute, the reunion of Oguri and Princess Terute which causes tragedy to Omaki, the widow of a wealthy man, and her daughter Okoma, and the miracle worked by Kumano Gongen deity to Oguri and Princess Terute. Please enjoy the flamboyant and joyful play perfect for the New Year featuring Living National Theatre Living National Treasure Onoe Kikugorô as Kazama, Nakamura Tokizô as Masamoto and Omaki, Onoe Shôroku as Namishichi and Yokoyama Tarô and Onoe Kikunosuke as Oguri.

Source: National Theatre

Ichikawa Ebizô, Ichikawa Udanji, Nakamura Shidô, Ôtani Tomoemon, Kataoka Ichizô, Ichimura Kakitsu, Ichikawa Sai'nyû, Ichikawa Emisaburô, Ichikawa Emiya, Nakamura Matsue, Ichikawa Kudanji, Kamimura Kichiya, Nakamura Baika, Nakamura Kotarô, Ôtani Hiromatsu, Nakamura Takanosuke, Ichikawa Kôtarô, Horikoshi Reika

The traditional New Year Kabuki at the Shinbashi Enbujô with a troupe led by the young star Ichikawa Ebizô. His daughter makes his hatsubutai, playing the role of Princess Kaguya (as a child) in "Nihon Mukashi Banashi".

Tenjiku Tokubê: This is a jidaimono history play set in the Muromachi period (approx. 1336-1573). It is a play on a grand scale about Tenjiku Tokubê, a man who plans to overthrow Japan with the help of toad sorcery. The play was written by Tsuruya Nanboku IV, and includes many spectacular effects such as a giant toad, collapsible stage sets, quick changes, a flight through the air, and so on. Sasaki Katsuranosuke (Ôtani Tomoemon) goes to the mansion of his retainer Yoshioka Sôkan (Ichikawa Udanji) in search of an heirloom sword named Namikirimaru which has been stolen. A boatman named Tokubê who has been to India appears and entertains Katsuranosuke for a while with his adventures. When he hears that the envoy of the shogun has come, he conceals himself. Sôkan commits ritual suicide by disembowelment to atone for the escape of his lord Katsuranosuke. He discloses to Tokubê that he is, in reality, Mokusôkan, who plans to restore the Ming dynasty.... Featuring also Ichikawa Ebizô in the role of the Shôgun Ashikaga Yoshimasa.

Kôjô: A kôjô is a special greeting and stage announcement made by actors directly to the audience. In Program A at the Shinbashi Enbujô Theatre in January, Ichikawa Ebizô will make one such kôjô announcement which will include a special glaring pose called nirami no mie. It is said that if you see the Kabuki nirami, you won't catch a cold for the whole year. Please enjoy an act perfect to celebrate the New Year.

Shizuka no Hôrakumai: This dance is included as one of the Shin Kabuki Jûhachiban, 'The New 18 Favourite Kabuki Plays' that were chosen by Ichikawa Danjûrô IX. Ichikawa Danjûrô IX was praised as a gekisei (Holy Actor). This work has been reconceived for this occasion. 5 types of Kabuki music will be performed together in this dance play. The Priest Ninshô (Ichikawa Kudanji) and his attendants visit a desolate temple in Kamakura because he has heard a rumor that a specter is appearing there every night. Suddenly, a threatening wind blows and an old woman appears. As she says she was a court dancer in days gone by, they ask her to perform a dance. After she disappears and they go into the inner room, specters gather one by one. Starring Ichikawa Ebizô in the roles of Shizuka Gozen, Minamoto no Yoshitsune, the Old Woman, the zôsu Haku, the priest Abura, the boatman on the River of the Dead and Keshô (a mighty demon).

Nihon Mukashi Banashi:
(Old Japanese Tales)
This is a new Kabuki production adapted from folktales and nursery tales that are familiar to all Japanese. It was created out of the desire to make a Kabuki play that anyone, from children to adults, could enjoy. The script was written by Miyazawa Akio who is active in many genres, and it was directed by Miyamoto Amon, one of the greatest directors in Japan. One night, a grandmother (Nakamura Baika) begins to tell some children a mysterious story which begins on a distant star. A wonderful stone which is the symbol of happiness goes missing, and in despair, the empress (Kamimura Kichiya) of that star pins all her hopes for its retrieval on her new-born daughter. Eventually, the daughter lands on the blue earth where she comes across characters and scenes from familiar Japanese folktales: Urashima Tarô (Ichikawa Udanji) and Lady Otohime (Ichikawa Emiya) in the Dragon Palace, the Peach Boy who defeats ogres, a White Dog (Ichikawa Ebizô) and the Old Man who made Cherry Trees bloom, the One-Inch Boy (Nakamura Takanosuke) and Princess Kaguya (Nakamura Kotarô).

Sources: Earphone Guide Website or Shôchiku Kabuki Official Website

Onoe Matsuya, Bandô Minosuke, Nakamura Kashô, Bandô Shingo, Nakamura Yonekichi, Nakamura Hayato, Nakamura Tanenosuke, Nakamura Kamenojô, Nakamura Umemaru

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).

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 Tanenosuke) 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 Umemaru), 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 Hayato) 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.

Ohama Goten: there are few plays more popular in Kabuki than "Chûshingura" or the Treasury of the Forty-Seven Loyal Retainers. In the modern period, this play was reworked by Mayama Seika as "Genroku Chûshingura", a play focusing on different incidents and different characters in this revenge classic adding historical details reflecting the Genroku period. One of the most popular parts of this play shows the man that will be the next Shôgun, seemingly detached from the vendetta, but in fact, intensely interested in the progress of the quest of the band of loyal retainers. Starring Onoe Matsuya as Lord Tsunatoyo and Bandô Minosuke as Tominomori Suke’emon. With Nakamura Yonekichi as Okiyo, Bandô Shingo as Ejima and Nakamura Kinnosuke as Tsunatoyo’s teacher Arai Kageyû.

Ayatsuri Sanbasô:
(The Puppet Sanbasô)
The Sanbasô is part of the ritual Nô play "Okina", a prayer for prosperity and in Kabuki the vigorous Sanbasô dance is often performed separately. To make the dance especially auspicious, the old man Okina and attendant Senzai appear as well. In Kabuki, the Sanbasô dance appears in all kinds of versions. In this particular version, the Sanbasô is actually a giant marionette (Nakamura Tanenosuke), dancing lightly until his antics tangle his strings, creating problems for his puppeteer (Nakamura Umemaru). Featuring also Nakamura Hayato and Nakamura Kinnosuke as Senzai and Okina.

Hikimado: originally written for the puppet theater, this play shows a tragedy of commoners caught between their duty and their feelings toward their loved ones. A sumô wrestler named Nuregami Chôgorô (Onoe Matsuya) has killed a man and takes refuge at the home of his mother. Unfortunately, her son (Nakamura Kashô) has been ordered to arrest him. All of these complicated conflicts are symbolized by the lightness and darkness created by the humble skylight (hikimado in Japanese) as a rope is pulled to move a wooden shutter. Featuring also Nakamura Yonekichi in the role of Ohaya.

Kyô Ningyô: this dance tells the story of the woodcarver Hidari Jingorô, famous for the sleeping cat on the great gate of Nikkô. He brings a statue of a beautiful courtesan to life and then there is a spectacular fight scene with a variety of carpenter’s tools. Starring Bandô Minosuke as Jingorô and Bandô Shingo as the doll of the courtesan.

Sources: Earphone Guide Website or Shôchiku Kabuki Official Website

Fujikawa Yanosuke, Kawarasaki Kunitarô, Yamazaki Tatsusaburô, Yamazaki Ryûnosuke, Tadamura Shin'ya, Tamaura Yûnosuke, Anegawa Shinnosuke

The traditional Zenshinza New Year performances in Kyôto. As the Minamiza is closed, it is staged at the Pontochô Kaburenjô, a venue in the famous hanamachi district of Pontochô.