Rising Stars of Kabuki: A New Generation Takes the Stage

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The potential of young kabuki actors is boundless. I was once again reminded of this while watching the March Hanagata Kabuki at Minami-za. Their passion for the stage and dedication to their roles radiated from every corner of the performance.

A group of promising young actors in their 20s and 30s led the cast, including Nakamura Kazutaro, Nakamura Yonekichi, Nakamura Fukunosuke, and Nakamura Toranosuke. This production was particularly significant as it saw each of them take on major roles for the first time. Witnessing their debut performances in roles they will likely continue to refine throughout their lifetimes was an absolute pleasure.

Mikasayama Goten

First was the Mikasayama Goten scene from the play Imoseyama Onna Teikin. (In English, Husband and Wife Mountains: An Exemplary Tale of Womanly Virtue). It is set against the backdrop of the Isshi Incident (645 CE), a political coup in Japan. In this coup, Prince Naka no Oe (later Emperor Tenji) and Nakatomi no Kamatari assassinated Soga no Iruka, the powerful leader of the Soga clan, at the imperial court. Mikasayama Goten tells the tragic love story of the heroine, Omiwa, who is swept away by the tides of history.

Nakamura Yonekichi performed the demanding female role of Omiwa beautifully. He expressed the innocence of a commoner's daughter while portraying her unwavering love for the young aristocrat Motome with charming gestures.

This deep devotion made her torment at the hands of the cruel court ladies all the more painful. When she hears that Motome is about to marry Tachibana-hime, the sister of Soga no Iruka, jealousy and rage surge within her. The scene culminates in a powerful display of the gichaku no so, a kabuki performance technique where an actor dramatically shifts their expression to convey suspicion, jealousy, or doubt, heightening the emotional tension.

*Scene from Imoseyama Onna Teikin. Minami-za Theatre, Kyoto City (© Shochiku)*

While the sudden transformation in her expression could have been even sharper, Yonekichi truly shone in Omiwa's final moments. After the servant Fukashichi (who is really a Kamatari retainer) fatally stabs her, she learns that her death will ultimately aid Motome, and she dies for love with a purified soul.

Living for Love

In this play, Toranosuke's Motome exudes the softness and elegance typical of a romantic hero. Fukunosuke's portrayal of Fukashichi balanced strength and charm, showcasing his potential for similar roles in the future. Kazutaro made his presence felt in the delightful role of the tofu seller, Omura.

Uemura Yoshitaro, playing Tachibana-hime, contrasted Omiwa's humble background with a dignified and resolute portrayal of a noblewoman. Both Omiwa and Tachibana-hime, despite their different social standings, are women who live for love. Ichikawa En'ya played Iruka, whose eerie and overwhelming presence dominated the stage.

Ise Ondo Koi no Netaba

In Ise Ondo Koi no Netaba (in English, Ise Dance and Love's Dull Blade), Toranosuke played Fukuoka Mitsugi, a refined yet strong-willed romantic hero in kabuki for the first time. His quiet endurance in the face of relentless taunts from the inn maid, Mano (played by Kazutaro), was compelling.

The scene in which Toranosuke's character, seemingly possessed by a cursed sword, slaughters people one after another was particularly chilling. His unsteady gait made it seem as though he was possessed, yet the moments his gaze sharpened made it all the more terrifying. The gruesome carnage, too, was an expression of kabuki's unique aesthetic.

Kazutaro, known for his graceful performances, seemed an unusual fit for the role of the shrewish Mano. However, this performance revealed the undeniable bloodline of his great-grandfather, the second-generation Ganjiro. His portrayal of a seasoned woman of the red-light district, with her cunning and cruelty evident in every sneer, was striking.

Yonekichi, playing the courtesan Okon, conveyed an air of genuine love, while En'ya's portrayal of the less-than-glamorous courtesan Oka balanced humor with pathos. Fukunosuke, as the cook Kisuke, showcased both elegance and loyalty.

*Scene from Ise Ondo Koi no Netaba. Minami-za Theatre, Kyoto City (© Shochiku)*

Osome no Goyaku

Kazutaro's Osome no Goyaku (in English, The Scandalous Love of Osome and Hisamatsu), where he performed five roles with quick costume changes, was staged differently in the Pine and Cherry Blossom programs. The rapid transformations between characters thrilled the audience, particularly the moment when two characters switch places in an instant.

While Kazutaro's portrayals of Osome and Hisamatsu were expectedly strong, his unexpected sensuality in Oroku's villainous woman role stood out. His deep-voiced villain Kihyoe was a bit of a stretch, given his expertise in female roles. Nevertheless, his adventurous spirit and determination to showcase the diversity of kabuki were commendable.

Overall, this production was a testament to the passion and efforts of these young actors. Their dedication illuminated the stage and gave hope for the bright future of kabuki. Performances continue until March 23.

Author: Noriko Kameoka, The Sankei Shimbun

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