Apparently, August 13th is “Ghost Story Day” (Kaidan no Hi) in Japan. And what did I see that day? Kaidan Botan Dōrō — The Peony Lantern, one of the great kabuki ghost stories. When the curtain opened, Koshiro Matsumoto appeared as the storyteller Encho and greeted the audience with words to the effect of, “Thank you for coming on this very day, which Junji Inagawa” — Japan’s most famous ghost-story teller — “established as Ghost Story Day.” We came for a ghost story, and within minutes the entire house was roaring with laughter. Koshiro, honestly, give us a break. (I love him. Ha.)
What Is Kaidan Botan Dōrō?
It is a full-length play based on a ghost story by Encho San’yutei, a master rakugo storyteller active from the late Edo period into the Meiji era. Otsuyu, who dies of longing for her beloved Shinzaburo, returns as a ghost to visit him night after night — while the fortunes of the money-tempted couple Tomozo and Omine become entangled in the tale. This was the first staging at the Kabukiza in 23 years, since 2003 👻 With the karan-koron of ghostly wooden clogs echoing in your ears, it is the perfect play for summer.
The casting: Koshiro in the double role of Encho and the packhorse driver Kyuzo, Minosuke Bando as Tomozo, Ukon Onoe as Omine, Somegoro Ichikawa as Shinzaburo, and Tatsunosuke Onoe as Otsuyu. A fresh lineup filled with rising stars. A feast for the eyes.
What You See the Second Time Around
Actually, I had already seen this production once this month through a subscription theater service, so this was my second viewing. Even with the same play, the second time changes how you see it. The first time, I was busy just following the story; this time, the emotional undercurrents from Tomozo to Omine came quietly into view.
What I loved most was the first act — the couple’s banter back when they had no money but were happy. Knowing what comes later makes that time all the more precious. Minosuke’s Tomozo made us laugh and still looked effortlessly cool. And Ukon’s Omine kept chanting “chū chū tako kaina” — a traditional counting rhyme — over and over, even after the stage had gone dark. Did she do that last time too? That timing, that carrying voice. The god of comedy truly dwells in Ukon.
I Want to Meet That Ghost
Tatsunosuke’s ghost of Otsuyu — I could not take my eyes off her. The arms hanging loose, the joints that seem to have come undone. She should be terrifying, and yet somehow she is adorable. I genuinely want to meet that ghost. I would scream if I actually did, but still — adorable. Too adorable.
My seat this time was in the sixth row, right beside the hanamichi runway — the so-called dobu seats. A prime spot for admiring the actors up close as they pass. Since Tatsunosuke and Somegoro appear mainly in the first half, I told myself firmly before the show: “Take a good, long look while you can.”
Cooling Off with Real Water (Too Cool, Actually)
Toward the end, there is a scene that uses real water on stage. It happened to be a chilly day for August, and even watching from my seat, the water looked cold (ha). Noryo — “summer-cooling” — kabuki, cooling us a little too well. Please don’t let the actors catch a cold.
Intermission at Tokyo Kitcho: The Hazuki Gozen
For the 35-minute intermission, I had reserved the “Hazuki no Gozen” (August set meal) at Tokyo Kitcho, the celebrated kaiseki restaurant inside the theatre. Reserved online, 6,600 yen.
A lacquered box filled with kombu-cured sea bream, matsukaze-yaki and more, plus futomaki and inari sushi, a grilled-eggplant miso soup, and mizu-yokan for dessert. The portions were just right, and every single dish was delicious… The seating was spacious and calm — you would never guess it was an intermission.
I ate at a leisurely pace and ended up cutting it very close getting back to my seat — but at a normal pace, 35 minutes is plenty for this meal. I am already booked in spirit for next month (instant decision). The inari sushi and the mizu-yokan were especially good!
An Unexpected Reward on the Way Back!!!
Dashing back to my seat at the very last minute — when suddenly!! Through the ground-floor entrance!!! Yonekichi Nakamura was arriving at the theatre for work 🥺 He was simply walking in, perfectly normally, while I was screaming internally. The frantic dash back turned into a bonus moment in an instant. I clamped my hand over my mouth so no sound would escape — the complete, fully-formed suspicious person. Yonekichi, arriving at work like a normal human being is, in its own way, a crime…
Words of Wisdom from the Madam Next to Me
That day, the lady seated next to me struck up a conversation. She comes to the Kabukiza almost every month, she said, and told me: “When you chat with people here, you catch a glimpse of each person’s life — it’s so lovely and such fun.” Maybe that is exactly what solo theatergoing is about. I hope our paths cross again.
In Closing
A ghost story on Ghost Story Day — wonderful even the second time (or rather, because it was the second time). And, in fact, I am going back to Part 1 again tomorrow. What will a third Botan Dōrō reveal? And more importantly, in which will tomorrow’s lunch be? (At the kabuki theatre, the food is a main event too 🍱)
As always, today was the absolute best.
