Pitter-patter, pitter-patter—June Grand Kabuki at the Kabukiza Theatre

The farewell performances at the Osaka Shochikuza (April and May) have concluded, and the theatre has closed its doors. Nakamura Shido appeared with his son in the April performance, which was a very memorable stage.
It was around that time that news broke that Shido would be performing 'Lone Wolf and Cub'. At the earnest request of my wife, who was a huge fan of the (reruns of the) 'Lone Wolf and Cub' TV series, we made the long trip to the Kabukiza Theatre in Tokyo to see the performance.

June Grand Kabuki at the Kabukiza Theatre

| Gion Sairei Shinkoki | Kinkakuji (The Golden Pavilion)

It is quite an interesting coincidence that 'Kinkakuji' became the first play I saw at the Kabukiza Theatre. I actually saw 'Kinkakuji' at the New Year's performance at the Shochikuza this year. At that time, it was Ganjiro as Matsunaga Daizen, Ittaro as Princess Yuki, and Ainosuke as Konoshita Tokichi.

This time, Shido was Matsunaga Daizen, Tokizo was Princess Yuki, and Hayato was Konoshita Tokichi.
I was excited to see how it would differ between Edo and Kamigata.

Shido's villainous role is, above all, defined by his great voice. His physique combined with that deep, resonant voice gives him the true dignity of a master villain. Shido is just so good!!
I haven't seen Tokizo as Princess Yuki since the Cinema Kabuki 'Oni in the Forest of Oboro', so I was happy because I wanted to see him on stage. Even though it's the same Princess Yuki, the atmosphere between Ittaro and Tokizo is completely different, which is interesting!! Ittaro had an atmosphere like a 'lovely, princess-type who makes you want to protect her,' but Tokizo's Princess Yuki had a dignified beauty, 'a strength of character that doesn't break even in a pinch,' despite being a captive.
It was an eye-opening experience to see how much the atmosphere changes when the actor is different. Tokizo hasn't been to the Shochikuza since he took his new name, so it was a treat to see him.
Hayato's Konoshita Tokichi had the look of a true leading man. I've been seeing him on screen a lot lately, but the stage is better—it's wonderful✨
Just by appearing, the air became like 'the hero has arrived!!' and I was enchanted😻

I don't think it's often that one gets the chance to compare Edo and Kamigata performances (pardon me!), but I enjoyed it! It was worth coming all the way to the Kabukiza.
The atmosphere of each play is different and each is charming; it's not a matter of which is better.
However, I did realize that I am indeed a Kansai person😝
(There is surely some 'memory bias' from the excitement of the first time I saw it, too)
Also, for the highlight scene where flower petals fall all over the stage, I feel like I was more immersed watching from the third-floor seats. The view is different depending on the seat🤓

| Modorikago Iro ni Aikata

Above all, the performance by three generations of the family is great!!
Baishi is Tokizo's son and is in the fifth grade of elementary school. From Baishi's perspective, Manju is his grandfather and Mantarou is his uncle.
The fifth-grader Baishi's build is perfect for the role of the kamuro. And it's not just his build; he says surprisingly mature things and dances with sex appeal, and then shows childlike expressions—it's so fun to see the grown men being pushed around by him.
And to think that they are his real grandfather and uncle—there is no greater luxury than this😍

Baishi's kamuro wasn't just 'a child actor dancing and being cute—'
It was so impressive that it made me wonder, 'Who on earth is this child? What is going on?' I wonder what Manju and Mantarou were thinking. Including the casting, it was packed with the fun of Kabuki in many ways, and the story was easy to understand even in a dance. I could enjoy it without thinking about the details, just getting excited—it was the best✨

Just a little bit before 'Lone Wolf and Cub'

'Pitter-patter, pitter-patter' has returned to the Kabukiza.
That theme song was also played at the Kabukiza just as it was.

Kinnosuke Yorozuya, who gained popularity in the TV series (1973–1976), was Shido's uncle. It seems that 'Lone Wolf and Cub' was adapted for the stage in June 1974 during the 'Kinnosuke Yorozuya Special Performance'.

This June Grand Kabuki is a grand gathering of the Yorozuya family.
There was an article in 2024 that talked about the background.

In this significant month of June, Ogami Itto returns to the Kabuki-za stage for the first time in 52 years. This year also marks the 33rd memorial service for Shido-san's grandmother (wife of Tokizo III).

Now, onto the main topic.

Lone Wolf and Cub

This 'Lone Wolf and Cub' is a challenging production that eliminates all so-called 'Kabuki-style staging.' The direction was handled by film director Masanori Inoue and Shido-san. It is said that they wanted to co-direct with a 'film director who has no experience in stage production.' The goal was not to 'base the Kabuki on the TV series,' but rather to 'create a stage production that reminds people of the TV series.'
Therefore, there is no tsuke-uchi (clapper sound) or mie (dramatic pose), and the Earphone Guide commentary is kept to a minimum. If one considers whether to call this 'Kabuki,' since it eliminates elements typical of Kabuki, I think it is understandable if it is judged as not being Kabuki.
It is not hard to imagine that there must have been a great deal of conflict and hesitation in choosing this direction, but if we consider that 'Kabuki' originates from 'Kabuku' (to break the mold), I think there is great significance in the challenge itself.

I honestly expected a flashy, traditional Kabuki-style production, so I must admit I felt a bit let down by this staging. After all, the Lupin Kabuki was 'The Kabuki' in its presentation.
As someone who loves the sound of the tsuke-uchi, I couldn't quite get into it... but my wife, who loves the TV series 'Lone Wolf and Cub' (and Kinnosuke Yorozuya), was overjoyed. She was delighted, saying it far exceeded her expectations, so I suppose that (this direction) was the right answer.

The choreography for the fight scenes is entirely that of the film world. (They actually had a film fight choreographer on staff.) Performing that every day on stage must require no small amount of resolve. I was worried they might be covered in bruises by the final performance.

Ogami Itto barely speaks, and there are no scenes where Daigoro acts like a 'typical child.' Did they choose the path of 'deliberately not making it Kabuki' out of respect for the resolve of the father and son who chose (and accepted) the path of the Meifumado (the demon way)?
Shido-san's aim of reminding the audience of the TV series hit the mark perfectly for my wife.

I had rarely seen Shido-san in a 'non-speaking role,' but as I watched, thinking that this is just who the character Ogami Itto is, I found a coolness in him that is different from the flashy heroes of Kabuki.

And the supporting cast was simply magnificent. There was Shichinosuke-san as Ohama, who requested the revenge, and Kankuro-san as the easy-to-understand (and somewhat petty) villain, Sugito Kenmotsu. Since both of their grandfathers were Nakamura Kanzaburo XVII, they are related as shown in the upper left of the family tree mentioned above. That in itself is quite moving.

It was also fresh to see Yonekichi-san playing a wicked woman, and Matsuya-san as Yagyu Gunbei, who stalks Ogami Itto, was also great. I like Matsuya-san as a villain.
The fact that the Yagyu boss, Yagyu Retsudo, is played by Nakamura Kinnosuke (the current one) is also interesting. Since I don't usually associate him with elderly roles, it makes it even more intriguing.

I can feel the enthusiasm of Shido-san and the others involved in the production, and by extension, Shochiku. I was able to see something truly good 🥹

Afterword

At the end of 'Lone Wolf and Cub,' he exits through the hanamichi (runway), and as Shido-san leaves the stage for the hanamichi, he looks into the distance.
His gaze seemed to be directed straight at us, so my wife and I clapped with all our might 👏👏👏👏👏

We were in the box seats (East 10), so clapping from a high position didn't bother the people in the seats behind us 😁
It was a trip all the way to Tokyo just to see the play, but I enjoyed it to the fullest ✨️

'Yorozuyaaaaa!!!!'

(I have never actually called out like that 😝)

Click here for information about the seats