Kabuki

by Zoë Kincaid

With the opening of the Imperial Theatre in 1911 a new force began to work in this shibai world. Not only did the Imperial draw audiences from the most representative citizens of the capital, but it became a centre for the entertainment of distinguished guests from overseas. Here, also, have been welcomed the musicians, actors, and dancers of many lands.

American and British touring companies have appeared at the Imperial. Prince Arthur of Connaught witnessed a play here, and the Prince of Wales, as the guest of the Mayor of Tokyo, attended performances with the Prince Regent. Enthusiastic audiences have applauded a score of Western musical celebrities at this theatre. Russian singers, dancers, and actors have been warmly received from time to time, and Madame Pavlova and her company performed for two weeks with great success. Here, also, the people of Tokyo have had the opportunity to listen to a repertoire of Italian grand opera. Mei Ran-fan, the popular actor of the Peking stage, also filled two engagements at the Imperial. Shakespeare’s plays have been performed by Japanese players, while new plays influenced by England and Europe are frequently presented.

Onoe Baiko, the sixth, is the head actor of the Imperial. His specialty is that of the onnagata, as is that of Nakamura Utayemon, the chief actor of the Kabuki-za. This is the first time in the history of Kabuki for two actors devoting themselves to female rôles to take such commanding places. In the old days the onnagata with becoming modesty was content with a lesser position among the yakusha.

The Imperial Theatre of Tokyo, completed in 1911. The building withstood the earthquake shocks of the great disaster of 1923, but the interior was destroyed by fire. It has now been entirely restored. The Imperial is becoming an international theatre centre, and has welcomed actors, musicians and dancers from England, America, Russia, Italy and China.

Mansfield once wrote: “But who shall say when this generation has passed away how Yorick played?” In Japan, however, how Yorick played is known, for every actor of genius leaves his mark upon the son or pupil who succeeds him, and his style and type are handed down. Both Onoe Baiko and Nakamura Utayemon have sons who give evidence that they are worthy to preserve the type. Eisaburo, who serves as an understudy to Baiko, already closely resembles his father, while Nakamura Fukusuke seems to have inherited the elegance and grace of his parent and teacher, Utayemon. These two young men are the leaders among the younger onnagata and will no doubt uphold the honour of this specialty at a not distant period.

Baiko, following the traditions of the Onoe family, for he is the grandson of the third Kikugoro, and was adopted by the fifth, is clever in the weird, and never pleases so much as when he plays an unearthly woman, ghost, or demon. He is particularly successful as a woman of the people, but it is as a dancer that he has endeared himself to all Tokyo. The grace of his movements, the power of suggestion in his descriptive dances, fill all who witness them with admiration.

Next to Baiko comes the versatile Matsumoto Koshiro, the seventh. Without doubt Koshiro is the best-equipped yakusha in Japan. He is both a good actor and an accomplished dancer. Born in a provincial town, his father was a builder and contractor, and he might have missed his calling had not Fujima Kanyemon, the furitsuke, or dancing master of the Tokyo stage, taken such an interest in the child that he adopted him as his heir and successor.

Danjuro, the ninth, saw that the boy was better fitted to become an actor than to be an exponent of dancing, and early took him under his protection. Of all Danjuro’s followers, Koshiro is the best qualified to carry on the Ichikawa traditions. Unfortunately, Koshiro was indiscreet in his youthful escapades, and so angered his master that he was expelled by Danjuro from the theatre, and for a time it seemed that he might never return.

When the Imperial was opened, Koshiro became attached to this theatre, and was quickly reinstated in the favour of the public. Danjuro’s widow, however, never forgot the injunction of her husband that Koshiro was not to succeed him, and while this actor is in every respect an Ichikawa, the great name of the tenth is still going begging.