Ukon Onoe’s self-produced performance, Ken no Kai, has finally reached its FINAL. From the very first piece I was completely captivated by Oritayū Takemoto, and right after the show, just outside the theatre, I passed none other than Oritayū himself in a suit. I’m not sure what I was being rewarded for, but it was a wonderful day. And today was, once again, the best.
What Is Ken no Kai?
Ken no Kai is a self-produced performance series that Ukon has been producing himself since 2015. This tenth edition was billed as the “FINAL”, with three pieces: Gei Ahō, Sagi Musume and Kagami Jishi.
This time, the earphone guide (a live audio commentary you can rent at the theatre) was narrated by Ukon himself. At 1,000 yen it’s a little pricier than the usual one at the Kabukiza, but it was worth it for all the stories only Ukon could tell. The timing of the commentary was so perfect that halfway through I forgot it was him and was just listening to it like a normal guide, until I had to remind myself, “Oh! This is Ukon!” (haha). I mean that as a compliment. He’s far too multi-talented.
A Day at the Meijiza Theatre
I came up to street level from the Suitengūmae station, and it’s a bit of a walk to the Meijiza. The weather was lovely and it felt great, almost a little too warm. Sweaty weather.
Inside, there was a big “Ken no Kai FINAL” sign. Don’t call it the FINAL, please keep going… 😭 I’d already seen the poster as an advance notice at the National Bunraku Theatre, but at last I got to admire it properly at the actual venue.
My seat was in a sajiki-like spot (the raised box seating along the sides of the auditorium). I bought my ticket through a lottery, so I couldn’t choose where I sat, but… it all worked out! It was my absolute favourite kind of seat! The seats at the Meijiza were very comfortable, and the airweave cushion left on my seat caught my eye, so I couldn’t help looking it up online.
The sujigaki (programme booklet) cover is sooo cool. They even gave us a sticker as a bonus 💕 I also spotted the Ken no Kai FINAL edition “Ken Ken Curry”. I wanted to explore the building too, but things got hectic and I had to give up…
Three Pieces and an Interval Lunch
Gei Ahō: Swept Away by Oritayū’s Voice
Gei Ahō (roughly, “A Fool for His Art”) is the story of Ōsumidayū Takemoto III, a Meiji-era master of gidayū (the narrative chanting of bunraku puppet theatre), and Danpei Toyozawa II, the shamisen player who partnered him. Oritayū Takemoto (narration) and Danshichi Takezawa (shamisen) made special guest appearances from the world of bunraku, while Ukon danced to their chanting and shamisen.
…Having said all that, I got completely carried away by Oritayū… The way he switches voices for each character, his expressions — but above all, I just love his voice so much. Listening to it brought tears to my eyes, and halfway through I was thinking, “I want to go to the November bunraku already!” If the spirit of the lake from the old fable asked me, “Is it kabuki that you dropped, or bunraku?”, I’d probably answer, “Bunraku!” (haha)
Incidentally, one of the composers of this piece was Tsunatayū Takemoto VIII. Oritayū is due to take the name Tsunatayū Takemoto X in January 2028, which feels like a lovely connection. I can’t wait to see his name-succession performance 🫶
Interval Lunch: My Long-Awaited Asakusa Imahan
In the first interval: the Asakusa Imahan sukiyaki bento I’d been determined to have ever since I missed out on it at the Heisei Nakamura-za. I bought it at Nihombashi Mitsukoshi before heading to the theatre. Even after taking all my photos, I still had plenty of time to eat.
I chose the one with the least rice, 180 grams, yet it was still a lot, and I was far too full… My long-awaited sukiyaki bento was delicious!!
Sagi Musume: Dazed by a Surprise Ending
This is a major dance piece for onnagata (male actors who play female roles), overlaying the image of a young woman tormented by love onto that of a white heron. During the hikinuki, one of its highlights (an on-stage costume change done by pulling out threads), I was so busy watching the hands of the kōken (stage assistant) Kikusaburō Onoe as he pulled the threads that I missed the moment of transformation (haha). At the first hikinuki, Ukon seemed to stumble slightly, but he regained his balance straight away, and I fell for his core strength.
As for the ending, it was a chūnori (flying above the stage on wires), of all things! In a gorgeous costume by Keita Maruyama, which left me a little stunned. “Wait, did Sagi Musume always end like this?!” I just sat there in a daze for a while.
Kagami Jishi: Thrilling to the Core
Kagami Jishi is one of the Shin Kabuki Jūhachiban (the “New Eighteen Great Plays”) selected by Danjūrō IX. The kamishimo (formal stage attire) worn by the nagauta musicians and the stage assistants bear the mimasu crest (three nested squares) of the Naritaya family.
Sana Maruyama, as one of the butterfly spirits, was so good that I couldn’t take my eyes off her. According to the earphone guide, Ukon himself appeared on stage as a butterfly spirit when he was a child, and was so scared of the lion he saw from the wings that he wanted to go home (haha). Too cute.
When Yayoi exits along the hanamichi (the walkway running through the audience), the lighting was so bright it blinded me and I couldn’t see a thing… (haha). The final keburi (the lion’s long mane swung round and round) is always so cool, every single time. My blood boils, my flesh dances, as we say in Japanese! It makes me feel like I’m really watching kabuki.
Curtain Call and an Unexpected Reward
Photography was allowed during the curtain call. But I’d switched my phone off, so by the time it had started up, it was nearly over and all I could capture was the bowing 😭 Please allow for start-up time… Seriously.
In his speech, Ukon said, “Ken no Kai is FINAL, but please don’t feel wistful or sad. I’m already planning the next project, and I’ll keep going from next year!!” Give me back the sadness I felt agonising over how many boxes of curry to buy (haha). Ukon, so utterly devoted to kabuki, I truly admire you!
After the show, as I passed the merchandise stall, Ukon was standing there with his stage make-up removed. But there was a huge queue, and standing right in front of him was beyond me, so I left the theatre.
Then, right outside the theatre: Oritayū in a suit, of all things. What?! No way! So cool! Wawawawawa! I wanted to say just a word about his upcoming Tsunatayū name succession. I also wanted to ask whether he’d be appearing at the Shinjuku Suehirotei during the middle ten days of December (no, that would be going too far. Look it up yourself.). I don’t know what for, but I got the most enormous reward. Like getting otoshidama (New Year’s money) at Christmas! Makes no sense.
Summary
Ten years, and now a pause. Ukon’s next ten years begin from next year? If I could ask for one thing, I’d want Oritayū again next time! If that’s difficult, then Tsunatayū (haha)
Looking up at the Meijiza on my way home, it looked so fresh and clear, perhaps because I took the photo in the best of moods after seeing Oritayū. I think I can live on the memory of passing him until next year. Thank you for the perfect timing, God.
