Watching Shota Yasuda's long-awaited Wakashu performance!

I have never seen the same play so many times before—it's Shinjuku Ryozanpaku's "Ali Baba, Beggar of Love."

It's a double feature written by Juro Kara in his 20s. Tonight is the final performance of the Wakashu (young cast) production. It was performed literally by young actors (including Yoshiaki Fujita, who is the same age as me and played an old man). Everyone's age was close to that of the original 60s production, and the audience was a mix of the usual Ryozanpaku crowd and over 300 people packed in, triggered by Shota Yasuda's new fans! In the audience were Morio Kazama, Taka Okubo (who acted in the premiere of Shukuroku), Tomoko Fujita, Yoji Matsuda, and other industry peers. Shota Yasuda, who managed his schedule to be there, Mr. Ban, and various young playwrights, actors, and dancers all stared at the stage, drenched in sweat.

I was seated next to the mother of Ran Moroji, who played the heroine Hinako in Ali Baba 👏

It was an otherworldly theater experience, cutting back and forth between the daughter and the mother. The lively mother laughed out loud and leaned forward to watch intently; it was the best seat because of her great reactions.

I love all three Hinakos this time (Misa Honma, Yumi Terada, and Ran Moroji), but among them, Ran has an outstanding sense of motherhood.

Her motherhood toward the aborted children surrounding her was overflowing, and everyone seemed so comfortable and spoiled by Hinako. I felt a special sense of presence knowing that the mother who gave birth to that Hinako was sitting next to me, laughing and moved to tears. The joy of performing that overflowed from all the actors stood out in this session, and I felt it become a huge mass that filled the tent. I think the Purple Tent might have been expanding from the outside looking in 🤭 The Shukuroku/Hisashi Miyazawa was amazing when he saw Eiko without a head riding a red horse. It was also great to strongly feel the regret held by the old man. The interaction between Taguchi and Midori-san was also excellent and hit the spot. The way the security guard twisted and his energy were also 👏 Chisato Someya's ever-changing eye colors and subtle expressions allowed me to catch a glimpse of Lil's life, and I was also moved by her song right after she was killed.

Yumi Terada's physique is a strong weapon for Ryozanpaku. Her standing posture, her striking poses, and her powerful, microphone-less singing voice are almost scary. Tomona Morioka's sailor suit as the young girl Manju Shage is incomparably cute, and in her role as a hostess wearing a chima jeogori, she uses a threatening tone, cleverly deceives a detective, and inserts cunning expressions in between 👏

The catharsis at the end of Beggar of Love is irreplaceable

And I am afraid of the final performance on 7/6. It's an impossible dream, but I want to keep watching both the main performance and the Wakashu performance once a week forever. What has begun must end. I have no choice but to see it through to the end.

Every time I come to Hanazono Shrine, for some reason, we end up taking a leak next to each other, and Shota Yasuda-kun would lament, "My schedule is such that I can't see the Wakashu performance 😭." Every time, he would repeat, "I want to see the Wakashu performance... it's a shame." However! He managed his work with sheer willpower and appeared at the Purple Tent. It is clear that new elements will be added to the acting of actor Shota Yasuda from tomorrow onwards, as he must have been greatly stimulated by watching the outstanding final Wakashu performance. I'm looking forward to it. I'm really glad I was able to watch it tonight!

Everyone at Ryozanpaku, thank you again for tonight!

PS Since the performers are almost all of my children's generation, it feels as if my own children are working hard on stage, which strongly stimulates a sense of parental affection, and I am deeply moved every time.

And, Happy Birthday to Yumi Terada on July 2nd! 🎉