Yesterday I saw the evening show, went straight to my hotel and slept like a log. The next morning, back to the same Kabukiza Theatre for the matinee. A kabuki double-header — what a gloriously indulgent way to spend two days. And yes, today was, as always, the best.
What’s on the matinee programme?
The matinee consists of three pieces: Gion Sairei Shinkoki “Kinkakuji” (The Golden Pavilion), the dance piece Modorikago Iro ni Aikata, and Kozure Okami (Lone Wolf and Cub).
The last one, Lone Wolf and Cub, is a brand-new kabuki adaptation of the classic story best known from the TV period drama starring Yorozuya Kinnosuke. Nakamura Shido-san plays the hero, Ogami Itto, and is also directing at the Kabukiza for the first time. Classics and a new work in one programme — excellent value, I’d say.
Lone Wolf and Cub: everyone is far too beautiful
The first surprise was how fresh the staging felt. Some scenes had the feeling of modern drama, so I did not need the earphone guide this time.
Today’s Shichinosuke-san was the kind-hearted type of beauty (lol). He played Ohama, and the way she spoke to little Daigoro — played by Shido-san’s second son, Natsuki-kun — was simply too lovely for words. The way she called herself “obasan” (auntie) absolutely got me. Shichinosuke-san’s gentle way of speaking was such a treat that, despite sitting in the fourth row, I still reached for my opera glasses (lol).
And then this beautiful Ohama gets stabbed by Osen (Yonekichi-san), a beautiful woman of the jealous variety. Both the stabber and the stabbed were exquisite. Beautiful when killing, beautiful when stabbed. Is everyone here too gorgeous, or is it just me? I found myself flustered over something entirely separate from the plot. Beautiful when dragged away, beautiful even when dead. Simply the best.
Kinkakuji’s cherry-blossom snowstorm, all the way to my dobu seat
In Kinkakuji, Tokizo-san played Yukihime, one of kabuki’s great princess roles. The act is set at the Golden Pavilion in full cherry blossom, and one of the highlights is the cherry-blossom snowstorm fluttering down over the stage.
And would you believe it — the petals reached my “dobu” seat (the seats right alongside the hanamichi, the raised runway that cuts through the audience)! Petals rained down on the stage, and as Yukihime moved from the stage onto the hanamichi, more petals came trailing along on the hem of her kimono… and before I knew it, some had landed inside my bag! When the curtain closed and I looked down, the red carpet at my feet was beautifully scattered with petals too 🌸 It felt as though Yukihime had carried them all this way just for me, and I sat there for a while, gazing at the petals resting in my palm.
And then on the way home, a petal came fluttering out of my bag — which made me happy all over again!
This summer, from July to August, Tokizo-san will be playing Lady Eboshi in the Super Kabuki production of Princess Mononoke at the Shinbashi Enbujo Theatre. The visuals they’ve released are simply perfect! Of course I’m looking forward to the two leads, but I may have just found something I’m looking forward to even more 🥺
A dobu-seat moment: Hayato-san’s masking tape
One more story you only get from a dobu seat. My seat today was 1st floor, Row 4, Seat 6 — positioned so that any acting around the shichisan (a spot partway along the hanamichi in which key moments are performed) happens directly behind me.
During Kinkakuji, the moment Hayato-san — playing Konoshita Tokichi — dropped to one knee, I got a full view of the sole of his footwear… and there was masking tape stuck to it. Probably the kind you accidentally step on backstage. Not a deliberate marker — very much the oops variety. Stumbling upon little moments like this is one of the perks of sitting so close. I sat there grinning all by myself. Masking tape!!!!
Interval food: tenmusu and a medetai-yaki
On to the joy of interval eating. Today’s bento was “Muromachi” by Jiraiya — and apparently it’s exclusive to the Kabukiza. Jiraiya is a tenmusu specialist from Nagoya (tenmusu are small rice balls topped with shrimp tempura), so a box you can only buy here feels rather special. Shrimp tenmusu plus a generous variety of side dishes — deeply satisfying, even dining solo. And the flavour — so, so good.
And one more thing: a medetai-yaki (the Kabukiza’s famous taiyaki, a fish-shaped cake — its name is a pun on “medetai”, meaning auspicious). Last time, at the evening show, I missed out on it, so this was my revenge, finally achieved. So happy to have one again after all this time.
Incidentally, while I was photographing my taiyaki, the stage crew kept walking past busily in the background. It struck me as rather funny, so I lined the photos up (lol)
In closing
An evening show followed by a matinee — a greedy little two days ❤️ A dobu seat means you can barely see the hanamichi, but in exchange: cherry blossoms raining down on you, a glimpse of the sole of an actor’s footwear — so many discoveries that only come from being this close. Even the limited view becomes something to love.
A classic’s cherry-blossom snowstorm, the contemporary feel of a new work, and Natsuki-kun’s Daigoro. A wonderfully full matinee. Next time I’d like to try a seat with a proper view of the hanamichi, I think to myself — though I suspect I’ll end up choosing a dobu seat all over again. I’m saving the to-chi-ri seats (rows 7 to 9, said to be the best in the house) for a special occasion. (A special occasion being what, exactly? www)
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