The same play, twice in one day. Both Part 1 and Part 2 of the New Year Asakusa Kabuki featured Ehon Taikōki, so I ended up watching it twice with the casts swapped around. I was struck by how differently the same play reads when the actors change — and, to be honest, by the second round I was pretty full (lol). The one that made me laugh hardest, though, was Bōshibari. Another wonderful day, as always.
What Is the New Year Asakusa Kabuki?
Held every New Year at the Asakusa Public Hall, the New Year Asakusa Kabuki is known as a gateway for young actors. Rising stars take on major roles they wouldn’t usually get to play. It’s a precious once-a-year chance, and one I always look forward to ⭐️
This year brought a changing of the guard: from a troupe long led by Onoe Matsuya to a new lineup centered on Nakamura Hashinosuke. Hashinosuke, Nakamura Kangyoku, Nakamura Takanosuke, Nakamura Tamatarō, Ichikawa Somegorō, Onoe Sakon, and Nakamura Tsurumatsu — these seven actors launched the new troupe that year.
The main piece in the two parts was the Amagasaki retreat scene from Ehon Taikōki, presented with different casts. Part 1 also included Michiyuki Tabiji no Hanamuko: Ochūdo. Part 2 included Haru no Kotobuki Musume Nanakusa plus Bōshibari.
The Same Play, Twice in One Day
So I watched the main piece, Ehon Taikōki, twice in a single day.
In Part 1, Somegorō played the lead, Takechi Mitsuhide. In Part 2, Hashinosuke took that same role of Mitsuhide, and Somegorō shifted over to Mashiba Hisayoshi. Same play, but with a different person at its center, the air felt entirely different. “So this is how much a play can change when the cast changes,” I thought, simply impressed 👀
By the second round, honestly, I was completely full (lol). I learned a lot, but the feeling of having had enough arrived at the same time. I still cannot quite classify that stretch of time.
Even so, what stayed with me was Somegorō’s back. Watching someone so young shoulder a major role, planted dead center on the stage, his back somehow looked broad and substantial. That feeling of watching a young actor rise to the challenge is something only this gateway showcase offers. And that’s exactly what’s lovely about it.
Bōshibari, the One That Made Me Laugh
And the piece I found funniest that day was Bōshibari.
It’s a comical dance in which two servants, their hands tied to a pole so they can’t sneak a drink, scheme their way to the sake anyway and end up thoroughly drunk and dancing. The drunken pairing of Takanosuke and Somegorō had me laughing out loud.
At the time, Somegorō was still a minor. Since he’d never had a drink, apparently he performed it while imagining, “maybe this is what being drunk feels like” (lol). Never having tasted alcohol, yet pulling off that wobbly walk and that loose, melting expression — how can he manage all that purely from imagination, I thought, half laughing and half genuinely impressed (lol). If you asked me which piece I remember, this is the first that comes to mind — that’s how much fun it was. Takanosuke’s tipsy act was wonderful too, and I felt I’d welcomed in a fine New Year 🎍
Wrapping Up
I picked up a set that paired the program booklet with postcards. I held the postcard of the actors all lined up and snapped a photo from my seat. Change the background you hold it against and the impression changes too — a lovely little New Year’s keepsake.
Before heading to the theatre, I stopped by Kaminarimon for a moment. Breathing in the New Year air of Asakusa before the kabuki felt like a good-luck start ⭕️
I’m already looking forward to seeing what next year’s program will bring!
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