This time I didn’t head straight for the Kabukiza — I made a detour to Togeki first, because I wanted to pick up the Cinema Kabuki and MET Live in HD schedules. After gazing at the Kabukiza peeking out between the buildings, I headed to Part 1. My third Kaidan Botan Doro this month, and yes — today was wonderful, as always!
First, a Detour to Togeki
Togeki, a cinema near the Kabukiza, is in which Cinema Kabuki and the MET Live in HD are screened. I popped in to pick up the screening schedules. The red-carpeted staircase has a lovely, slightly retro atmosphere.
And from Togeki, you can catch a glimpse of the Kabukiza’s tiled roof between the buildings of Ginza. Seeing the theatre from a little distance, rather than looking up at it from the front as usual, felt refreshingly new. That roof, right in the middle of the modern high-rises — a very Ginza view.
Part 1: Kaidan Botan Doro (The Peony Lantern Ghost Story)
Part 1 is the full-length play Kaidan Botan Doro, a classic of kabuki ghost plays based on the masterpiece rakugo tale by San’yutei Encho — and apparently its first staging at the Kabukiza in 23 years! Minosuke Bando plays Tomozo, Ukon Onoe plays Omine, Somegoro Ichikawa plays Hagiwara Shinzaburo, and Tatsunosuke Onoe plays Otsuyu. Koshiro Matsumoto takes the double role of Encho himself and the packhorse driver Kyuzo, in a staging in which Encho narrates the tale from the storyteller’s dais.
Thanks to my flat-rate theatre subscription, this was my third Botan Doro of the month. The same play three times in one month — what am I even doing? (laughs) But a third viewing has pleasures all of its own. I wonder when I’ll next get to haunt the Kabukiza on the subscription~
What You Only See the Third Time: Ukon’s Expressions
My seat this time was on the second floor, house right, second row. For someone with a self-imposed policy of “if I can’t get a good seat, I don’t book at all”, this was an unusual choice. Being a little further from the stage, I watched Ukon’s expressions closely through my opera glasses.
By the third time, I knew more or less what was coming, so I could lie in wait — “Oh! Here it comes, here it coooomes!” — and that is such fun. I couldn’t take my eyes off Ukon’s Omine. Honestly, Kenken, you are just too good.
And above all, Ukon’s comic timing. The scene in which Omine begs to hear the rest of Tomozo’s frightening story — “And then what happened? 😭” — had the whole house roaring, and even the most trivial little lines like “Welcome home” or “Right, I’ll light the lamp” set off waves of laughter. The lines themselves are nothing special, yet the timing alone makes them hilarious. Isn’t that extraordinary? The god of comedy has well and truly descended on Kenken.
As always, I also had my eyes glued to Tatsunosuke’s ghost 👀 But when I do that, I can’t watch Somegoro… (my regular dilemma).
With opera glasses, choosing in which to look is genuinely difficult… “Tatsunosuke or Somegoro, that is the question.” Both, obviously! But this time, the ghost won. I’ll buy Somegoro in next month’s stage photos 👻
Another quiet delight this time was Midori Onoe as the nursemaid Oyone. Her presence as a ghost was absolutely perfect — so utterly ghostly! Surely a signature role?! It took me until the third viewing to properly appreciate her. Wonderful. I hope to see much more.
By the way, there are a few moments in which the whole audience laughs every single time, and some of them leave me wondering, “Is this… a funny bit?” By the third viewing, the audience’s reactions themselves become part of what I observe — it’s a curious thing. Am I the odd one out here? (laughs) “Is that really in which we laugh?!” I puzzled, as I watched.
Kumamoto Earthquake Relief Donation
Inside the theatre, a donation box had been set up for the 2026 Kumamoto Earthquake relief fund. I had already donated at the National Bunraku Theatre, so I gave the same amount here as I did there. Seeing the same support offered at both the bunraku theatre and the Kabukiza warms my heart a little. It’s only a modest amount — simply my small way of hoping to help the people of Kumamoto. I do wish they would publicise the fund more prominently, though! It’s so discreet that many people probably never notice it. I can’t wait to visit Kumamoto ✈️
Interval Meal: The Hanaguruma Set at Hanakago
For the interval meal, I had the Hanaguruma-zen set at Hanakago, the restaurant on the third floor. It isn’t a monthly special — it’s the standard set that’s always on the menu.
To be honest, I’d never been terribly interested in the “always available” options… but once I tried it, I discovered it might actually be exactly the right amount 🤩 Rice, grilled fish, simmered dishes, something fried, small sides and a clear soup, all in one tray — a portion you can comfortably finish within the interval. Never underestimate the standards.
Ah, but there is one pitfall: no dessert 🕳️ So you think, “Right, I’ll just buy a medetai-yaki on the way back,” don’t you? Everyone thinks that, surely — Hanakago and the medetai-yaki stand are both on the third floor, practically next door to each other. But here’s the thing: by the time you finish your meal, the interval is nearly over. And the wildly popular medetai-yaki may well be sold out by then… Which led me to a brainwave: buy your medetai-yaki BEFORE going to Hanakago!! That might actually be genius!!!! What do you think? Brilliant — but possibly too much food?
That said, I’ve already booked next month’s monthly special. And Kitcho too, of course. So much for lessons learned (laughs)
Tea in Ginza on the Way Home
After the performance, I stopped for tea at the Mariage Frères Ginza flagship before heading home. That story is for another post.
Read about my post-theatre tea → A Tabletop Journey: Mariage Frères Ginza (August 2026)
Final Thoughts
A detour to Togeki, my third Botan Doro, a donation, the Hanaguruma set, and tea in Ginza — a day steeped in culture from start to finish.
When you watch the same play three times, you start to enjoy not just the story, but the actors’ timing and the audience’s reactions too. Flat-rate theatre subscriptions: a dangerous thing. Next time I’ll be arranging my schedule so I can practically live at the Kabukiza!
Latest ticket release dates → Ticket Release Schedule
