This month, I’m on the flat-rate theatregoing service. So, off to the opening day of the August Program. I’ll write about the performances properly another time. Today is all about the opening-day atmosphere, how the flat-rate ticket works, and the second-floor box seats.
On three-part days, Hanakago comes BEFORE the show
The August Program runs in three parts.
On three-part days, Part 3 has two intervals: 30 minutes and 20 minutes. There’s only one longer 30-minute break, so neither Hanakago nor Kitcho serves meals during the show. You can still eat a bento during the interval, of course!
Which means the dining room Hanakago (3rd floor of the Kabukiza) works differently from usual: you have your meal before Part 3 begins. Being able to take the Kabukiza Tower lift straight up to the 3rd floor is another little perk of three-part days.
I ordered the tekkadon. The rice wasn’t too much, about two small bowls’ worth, I’d say. Though everyone’s idea of a “bowl” is different, so who knows (laughs). It was piled generously with tuna, and I was thoroughly satisfied. Polished off every grain. For dessert: melon, served like royalty.
As mentioned, Part 3’s longer interval is just the one 30-minute break. I have no confidence I could finish a bento in that time, so a leisurely dinner at Hanakago before curtain was absolutely the right call.
What is the flat-rate theatregoing service?
What I used this time is the flat-rate theatregoing service for Shochiku Kabuki-kai members. During the eligible period, you can watch from any vacant second-floor seat at the Kabukiza as many times as you like, all for a flat fee. The more you go, the better the deal. Details appear in the members’ magazine “Hōō”.
Here’s how it works.
First, you apply month by month, “the August flat-rate service, please,” and a dedicated card arrives. This card is used for the whole year, so don’t lose it! Reservations are made by phone from 9:30 a.m. one week ahead. The operator tells you which seats are available, and you choose your favourite from the second floor.
I like to phone while checking the seat availability on the Ticket Web Shochiku site on my computer, and here I made a discovery. Apparently the availability shown on the site and what the staff can see don’t always match, and a seat that looks taken online may actually be free! This time, thinking “surely the box seats are out of the question”, I asked anyway and, against all odds, got a second-floor box seat. Oh my 🥺 Lesson learned: treat the website’s availability as a rough guide only.
On the day, you show your card and pass through facial recognition to enter (you need to register a photo of your face in advance). There’s no paper ticket, so I log in via the QR code on the card to check my seat before heading out.
The flat-rate service doesn’t guarantee good seats, but this time they seemed relatively easy to get. I’ll save the details about the Shochiku Kabuki-kai and the flat-rate service for a separate post.
The view from the second-floor box seats (east side)
My seat this time was a second-floor box on the east side. The far side of the stage is slightly cut off from there, but it was no problem at all for this programme. Gazing out over the stage before curtain is one of the joys of a box seat.
The earphone guide bonuses were generous
The earphone guide for Part 3 costs 500 yen. It seems to be online-booking only, but it comes with a special commentary video, plus an after-talk by Tamasaburō available to stream until the end of September. Being able to watch it again and again is a treat. How lovely that the enjoyment continues even after the show.
Opening-day buzz and the uchiwa display
On opening day, the Kabukiza was in a festive mood, banners flying. I’m not one to look around much, but even I noticed there seemed to be more people in kimono than usual. Everyone looked wonderful. A feast for the eyes.
In the second-floor lobby there was a display of uchiwa fans hand-painted by the performers. Chōsaburō’s fan was so lovely it became my favourite ⭐️ I’m planning to enter the giveaway, but I’m still dithering… I really must apply soon…
The performances, another day
Part 3 consists of Bukaku Setsugekka and Tamasaburō’s jiuta-mai dances Yuki (Snow) and Zangetsu (The Lingering Moon of Dawn). Shichinosuke was beautiful, Kankurō was reliably funny, Kantarō’s growth made me sit up, and Chōsaburō was so adorable I couldn’t take my eyes off him. And Yuki and Zangetsu were performed, by design, without even the earphone guide: a truly sacred stretch of time. Tamasaburō, utterly captivating on a hushed, silent Kabukiza stage. I forgot to breathe.
I’m planning to see it again from the first floor later this month, so the full performance report will come then.
Final thoughts
The opening-day buzz, the box seat I somehow landed with the flat-rate service, dinner at Hanakago before curtain. Even just the “edges” of a theatre day brought this much joy. And knowing I get to see it one more time, I can hardly wait.
As always, it was the best day ever!
