The closing-day Renjishi, watched from right beside the hanamichi, misty-eyed the whole way through. I tried to take in both Mahoro and Ukon fully, got greedy, and ended up only half-watching each of them (laughs). As always, today was the best.
- Shigatsu Ohkabuki Evening Programme: Three Acts of Tears and Laughter
- In Praise of the Hanamichi-Side Seats (a.k.a. “Dobu Seki”)
- Falling for Nakamura Shichinosuke All Over Again in Honcho Nijushiko
- The Closing-Day Renjishi, and the Cost of Being Greedy
- When Kabukiza Suddenly Turns into a Comedy Theatre: Ukare Shinju
- Bonus: Why I’m Powerless Against “Limited Edition”
- Final Thoughts
Shigatsu Ohkabuki Evening Programme: Three Acts of Tears and Laughter
This month’s Shigatsu Ohkabuki (April Grand Kabuki) evening programme featured these three pieces:
– Honcho Nijushiko — “Jusshuko” scene
– Renjishi
– Ukare Shinju
From the graceful Princess Yaegaki in a classical history play, to the wild mane-shaking of Renjishi, to a domestic comedy that had me in stitches. The emotional range was so wide it left me thoroughly full. You really need each intermission as a reset point — that is how rich the programme was. “Intermissions matter,” I found myself thinking.
In Praise of the Hanamichi-Side Seats (a.k.a. “Dobu Seki”)
Once again, I was seated right beside the hanamichi — what people call dobu seki. There’s almost no gap from the hanamichi to the seats, but there’s juuust enough space to set your bag down, which makes the seats feel a touch roomier than the others. A personal favourite.
More than anything, you get a clean view of the stage straight along the hanamichi — no heads in the way 👀. And every time an actor passes by, you actually feel the breeze. That’s the magic.
Falling for Nakamura Shichinosuke All Over Again in Honcho Nijushiko
Honcho Nijushiko — Jusshuko is a classical scene centered on Princess Yaegaki and Takeda Katsuyori. Its colors and atmosphere feel unmistakably kabuki.
This time, Nakamura Tokizo played Princess Yaegaki, with Nakamura Shichinosuke as the lady-in-waiting Nuregoro. And Shichinosuke is, as ever, just unfairly beautiful. I know I say this every time, but every time I see him I end up murmuring “…he’s so beautiful.” It’s just personal taste at this point. Nothing I can do (laughs).
The Closing-Day Renjishi, and the Cost of Being Greedy
The piece I’d been looking forward to ever since the programme was announced: Renjishi. Onoe Ukon as the parent lion, Onoe Mahoro as the cub — and on the closing day, no less. I wanted to watch Mahoro closely, and I wanted to take in every bit of Ukon, and trying to do both at once meant I half-watched each. 😂 I really should have gone twice.
The trouble with going on closing day is that there’s no “one more time” option. Something to keep in mind for next time.
I’m absolutely going to try for tickets to Ukon’s next Ken no Kai (his self-produced performance), but whether the dates will work with my schedule is a matter of prayer. Self-produced runs are usually very short, so timing has to cooperate.
When Kabukiza Suddenly Turns into a Comedy Theatre: Ukare Shinju
The final piece was Ukare Shinju, a comedy based on Inoue Hisashi’s novel Tegusari Shinju. Eijiro, the young master of an Ise-ya merchant household, loves making people laugh and keeps cooking up one ridiculous scheme after another.
Shichinosuke played the courtesan Hahakigi (and yes, naturally, very beautiful again) — but the one who really got me today was Onoe Kikugoro. His Osuzu was so sweet, so charming. I know I’m not making sense, but the whole time I just kept thinking “…she’s so adorable.” So this is the kind of woman who melts hearts, I caught myself thinking (laughs).
And then, as always, Nakamura Kankuro. Nobody beats Kankuro. Too funny, too generous with his energy — I was laughing the whole way through. And Nakamura Shikan — like in last month’s piece with Nakamura Ganjiro, he’s wonderful in these domestic-life roles. Really love seeing him in this register.
At one point I genuinely lost track of the setting: I was at Kabukiza watching kabuki, yet it felt as though I had slipped into Namba Grand Kagetsu — Osaka’s famous yoshimoto shinkigeki (a long-running variety comedy theatre) — for a comedy revue. 🤣 Kikugoro’s impression of “Michi Yasue” (a beloved Osaka comedy actress) was too perfect. 😂 I want to rewatch that scene as a short video, over and over. Shochiku, can we make this happen? (laughs)
Bonus: Why I’m Powerless Against “Limited Edition”
I had already eaten a proper bento during the matinee, so I was a little full… but then I thought, what if I get hungry again during the intermission? So before the evening program began, I went down to Yagura on the basement first floor. When I heard the call, “It’s a Kabukiza exclusive!” I, of course, ended up buying a Toge no Kamameshi. I cannot beat the words “Kabukiza exclusive.”
I’d already had a bento for lunch and another for dinner at the theatre, so my stomach was at full capacity. Couldn’t finish it on the spot — brought it home and ate it as a late-night snack. 😋 Glossy rice studded with shrimp and simmered vegetables: definitely more of a feast than a snack.
Final Thoughts
The closing-day Renjishi, the riotous Ukare Shinju, the beautiful Honcho Nijushiko. One evening of tears and laughter, with an emotional range almost too wide to handle.
The hanamichi-side seats give you a slightly angled view, but in exchange you get to watch from a distance in which you can almost feel the actors’ breath. People call them dobu seki, but to me they feel like a reward seat.
I can’t see this Renjishi again — that ship sailed with the closing day — but at the next Ken no Kai, I want to take in Onoe Ukon to my heart’s content. Already bracing for the ticket scramble. Going to buy so many.
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