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The following is a list of these performances, including both first performances and repeat performances listed with the actor who performed the shite role variant performance names are omitted.

Below are some of them in chronological order: Wakebayashi Michitaka amongst others performed Yoshino Tennin. The following is a list of performers of Nohgaku who passed away in Nishi Tetsuo is a nohgaku critic born in , graduated from Saitama University.

Translation: James Ferner. Meanwhile, the mid-level to younger actors below the age of 40 were also making considerable achievements, taking on many ambitious roles and first-time roles. The Kabuki-za, the home base of kabuki, celebrated the first Anniversary of its reopening in April. Although the explosion of popularity that occurred at the time of the opening has died down somewhat, with all the fine programs being staged every month, audience numbers have stabilized and the tally for ticket sales reached an impressive total of two million by November.

Kawatake Mokuami, giving us the brilliance and energy suitable for this middle generation. The phoenix is the official crest of the Kabuki-za. The character, O-Hatsu is a 19 In June, Kataoka Nizaemon, who had been forced to take time off due to illness, returned with a reconstruction of O-Matsuri The Festival.

These memorial programs are normally meant to honor the departed performer and it is customary for his descendants or students to perform roles that he was famous for and that have passed down to them.

In this way, the audiences can see how the art of kabuki is transmitted from one generation to the next. In this program there was a lineup of pieces that the departed stars had been In December, the reconstructed Fujikawa Crossing Nakamura Kichiemon and Nakamura Karoku together gave an especially fine performance of the Okazaki act. Many of the plays included lack actual scripts, and this piece, although technically a reconstruc-. Along with these programs at the large venues, there were also tours of the regional venues, with each performer organizing their own program.

Furthermore, with many of the younger actors participating in stage performances in other genres, the popularity of kabuki continued to grow as it developed in a diversity of ways.

In November he was awarded the Order of Cultural Merit, an award of the highest honor. Combined, they have served in the lists of bunraku for 68 years. Meanwhile, there has been a decrease in the amount of funds received from Osaka in the form of subsidies. The National Bunraku Theatre in Osaka, the home base of bunraku, held its four regularly scheduled programs over the course of the year along with one appreciation workshop for beginners. Gunki The Battle of Dan-no-ura in the evening.

In contrast to last year, this year there was vigorous promotion activity in the schools beforehand and the happy result was an audience packed to This program also saw audience numbers rise above those of last year. In November the matinee featured a performance of Futatsu. The year as a whole saw a record number of theatregoers, , higher than the previous year.

At the National Small Theatre in Tokyo there were four programs held. This work depicts the absurd tales of the mishaps of the pot-bellied, lustful epicurean, Farusu no Taifu Falstaff , and in the end, his expulsion by the prince who had been his close companion. December also With his recovered health, his precise chanting, developed through his study of the texts, shone remarkably.

Among the Shamisen players, Tsurusawa Seiji tops the list with a full corps of capable talent among the mid-level and younger players. The elder of the Shamisen players, Tsuruzawa Kanji is also in good health giving much depth to the group.

For bunraku, the year presented a number of challenging issues to be dealt with but then things steadily returned to normal. From he was been in charge of the Theatre section for the Arts and Cultural News department of the Mainichi Shimbun and served as vice-chairman for that newspaper as well as being a member of the editorial board and special committee member. He is now an affiliate member of the editorial board.

In the year , he was appointed professor at Obirin University, retiring in , and is now Professor Emeritus of the same university. In Japan, an array of musicals was presented in and it was, so to speak, a good harvest year.

There were some impressive works among these premieres and it was gratifying to see how well they were executed. It is an Andrew Lloyd Webber musical, with the script and. In Japan, it was first performed in , starring Sakurai Sho. When it was revived Japan in , however, they used the version revised for the premiere in Canada, which had been retitled The Boys in the Photograph.

In other words, the revival in Japan was based on the revised version, and also had a new direction and cast. The Japanese title and the setting, however, remained the same. It turned into an enormously appealing musical, owing to the fact that the latter half of the story and part of the music had been changed as well as the novel direction and casting.

The story was set in Belfast in Northern Ireland between and It was a time when the IRA was intensifying its terrorist campaigns. Against such social backdrop, two football mates were caught up in the confrontation between the Catholics and.

Protestants, and for that reason, they were torn apart. John played by Baba Toru was a hopeful ace striker and people expected him to join a professional team but his life got off the track after helping his friend, who had joined the IRA, get away from it. It was also an ensemble piece about young people. The main plot was the love story between John and Mary played by Otsuka Chihiro , interwoven with subplots such as the story of a young Protestant man called Del played by Hirakata Genki and a young Catholic woman called Christine played by Frank Rina , who were going to immigrate to the U.

The stage was set between two blocks of audience Moreover, the news video projected onto the screens on both sides of the stage created a sense of urgency. The stories of the past were presented as themes of today, making it into a thrilling and heartfelt musical.

The choreography by Shinkai Eriko was also appealing. There were Irish dance elements as well as dynamic dance numbers full of football movements. Not only was the choreography fantastic but it also helped to express the themes. The dramatization, full of inspirations, was carried out by Fujita Shuntaro, who had taken on the challenge of directing a musical for the first time. Both he and the choreographer Shinkai are indeed very promising artists.

In the original version of the musical, a sad and yet beautiful song titled Our Kind of Love was sung as the theme number. Part of the melodies of the original theme number were still there, but the music itself, given a new title and different lyrics, had been turned into the title number of Love Never Dies, which is also a Lloyd Webber musical that premiered in London back in The Japanese version of Love Never Dies premiered in as well.

It was based on the Australian version directed by Simon Philips, which was by far better than the original London version. The story is the sequel to the blockbuster musical Phantom of the Opera. It is based on the novel The Phantom of Manhattan written by Frederick Forsyth, who wrote it so that it can eventually be adapted into a musical that would be the sequel to the Phantom of the Opera.

However, in the initial musical adaptation process, in which Lloyd Webber also took part in creating the script, both the set up and the. Ten years has passed since the last scene of the prequel and the character of Phantom played by double-cast Ichimura Masachika and Kaga Takeshi had become an impresario on Coney Island in the suburbs of New York, which was made possible through the cooperation of Madame Giry.

In the Philips version, however, the excessive music had been simplified and the order of the musical numbers had been changed as well, which brought out a color that was different from the original version. By cutting the explanatory opening scene and starting from Til I Hear You Sing sung by the Phantom instead, it became clear that he loved Christine not only as a woman but also as a musical soul mate. As a result, the focus of the story shifted to the Phantom. Besides the strength of the dramaturgy, the magical and gorgeous costumes and set designed by Gabriela Tylesova were also extremely appealing and effective for the piece.

A Cavalcade of Topical Musicals Apart from the two musicals mentioned above, imported musicals premiered in Japan one after another, starting from the beginning of International productions of The Full Monty January and In the Heights April had come on tour to Japan in the past, but this time, they were translated and performed in Japanese.

As one may notice, new musicals were mounted almost every month. Additionally, there were revivals of past productions with new staging and new cast such as I DO! Also, Napoleon, the Man Who Never Sleeps and Lady Bess were original musicals that premiered in Japan, created in collaboration with artists from abroad.

It did truly seem like a cavalcade of epic and topical musicals were performed during I would like to mention a few impressive works among them. Firstly, Full Monty, which was originally adapted from a film into a Broadway musical. In the Japanese version, the leading role was. In the Heights also came from Broadway and it was a heart-moving story about the kindness of the people living in a town made up of Latino immigrants.

In Adams Family, Hashimoto Satoshi captivated the audience not only with his skills as a performer but also with the charm of his warm personality that came through in his acting. The cast members playing the supporting On the Town and in the Shade are musicals that premiered over fifty years ago. As for in the Shade, it was performed in a small space with only a few cast members. The text and lyrics were translated by the director Katsuda Yasuhiko, who knows the work very well, and the turmoil taking place around the heroine played by Miyauchi Rie , who does not give up her dreams despite the fact that she was caught up in the boring reality, was depicted light-heartedly, leaving a good feeling after seeing the show.

First Date is a new musical that premiered on Broadway in It did not run for long in the U. Jewish-related materials was turned into an endearing love comedy with universal themes. The skillful performances of Nakagawa Akira and Niizuma Seiko, who played the two leading roles, also gave lots of momentum to the show.

Title of Show that originated off Broadway had a small cast and only the performances of the four cast members Urai Kenji, Kakizawa Hayato, Tamaki Nami and Sato Hitomi making great efforts left an impression. Jeeves and Wooster is an early work by Andrew Lloyd Webber.

It was probably introduced to Japan because of its recent revival in London. Nothing new was found in the typical British comedy featuring the duo of a stupid master and clever butler, but I was surprised at how good Wentz Eiji was despite the fact that he was playing the leading role in his first musical. I hope he will perform in more musicals. On the other hand, Lady Bess was created by the same writer-composer duo as Elisabeth.

Michael Kunze wrote the lyrics and script, while Sylvester Levay composed and arranged the music. It was a story depicting the Virgin Queen Elizabeth I during her childhood and the production was organized in a sound way, focusing on her coming of age. Sherlock Holmes and Black Mary Poppins were both originally.

The Korean musical scene is very active at the moment and young talented creators appear one after another, but if I were to make a remark, in most of them, the weaknesses in the script stood out. It may be for that reason that these two musicals had to undergo drastic embellishments when they were adapted for Japan, and were as a result upgraded to an exceeding level. The same approach would probably be required in the future when musicals originating in Korea are presented in Japan.

There were also excellent remakes and revivals. It was a paean to life depicting a couple from the time they just got married until their autumn of life. The image of the couple may seem somewhat old fashioned for us today but the soundscape helped to understand the period of their story.

Also with the help of the outstanding performance of. As for revivals, Thrill Me was mounted for the third time. This time, the director Kuriyama Tamiya made alterations in detail. Lastly, I would like to briefly touch upon the original Japanese musicals staged in The TS Musical Foundation is a group that.

Hagio, Hitomi She became a film and theatre critic after working as a newspaper journalist, and writes stage reviews for The Tokyo Shimbun and serial columns in musical magazines.

Translation: Sumida Michiyo. In July the Abe government gained Cabinet approval for authorizing the use of collective self-defense, in a complete degree reversal of what successive Cabinets had always previously judged forbidden under Article 9 of the Constitution of Japan. And then at the barely contested Lower House election, the ruling Liberal Democratic Party obtained a two-thirds majority, with the Prime Minister then suggesting his willingness to change the Constitution.

Meanwhile, the gov-. How is one to face up to this? Here the serious creativity of playwrights, especially female ones, shined.

Leading playwright Nagai Ai b. While a light-hearted comedy set in his home with his clashing mother and young wife, the suggested themes. This question was a vivid one for contemporary audiences. The funny but chillingly real play dealt with a wide Nogi Moegi b.

Superbly balanced between the serious and the strange and funny, the play brought out the sorrow of the young caught in the middle of the contradictions of the army.

Setoyama Misaki b. Yamaya Noriko b. Theatrical Group EN staged a series of new plays by three female writers. Both emerging and established talents continued to attract attention in directing. There were many successes, such as Kamimura Satoshi b. Mori Shintaro b. Tada Junnosuke b. Based on the Anton Chekhov play, it was rehearsed in Seoul and performed in two languages with a.

Prodigious Veterans The dynamic activities of established artists also left an impression this year. Naraoka Tomoko b. Kato Takeshi b. Nakadai Tatsuya b. Watanabe Misako b. A generation younger, Shiraishi Kayoko b. Among directors, the output of Ninagawa Yukio b.

Seven of these alone were new productions — including Toumin suru kuma ni soine shite goran Try Snuggling Up to a Hibernating Bear by the writer Furukawa Hideo b. The Role of Public Theatres We have looked back at the achievements of individual theatre artists, but what were the activities of the theatres built by the state or Public theatres established by local governments are increasing around Japan.

SPAC is a rare case in Japan of a theatre with its own repertory company. Artistic Director Miyagi Satoshi b. Noda Hideki b. The dynamic and richly expressive play was performed at both theatres. Public theatres around the country have been supporting creativity through co-productions and cooperation, though over the past few years the New National Theatre, Tokyo has leaned towards staging translations of European and American plays. Of the nine produc As a national theatre it surely has a responsibility to stage more original theatre.

However, it is sad to see it close at the end of the fiscal year. In particular, the Aoyama Round Theatre, with its unique design, has cultivated many theatre companies and artists as a core fringe theatre facility. The Aoyama Theatre Festival, which started in Hyogo Prefecture as a facility for theatre artist residencies.

To mark the opening, it hosted the Japan Playwrights Association Congress in June, the first time the event had been held in nine years. It featured 52 events, including performances, symposia, readings and seminars, attended by a total of 7, people. The hot spring resort bubbled with theatre people and theatre-lovers. In autumn, the Center hosted a residency for Hirata Oriza b. Vibrant Theatre Works Popular theatre artists also had a busy year.

Known for writing plays with male ensembles, Mitani Koki b. He wrote and. He also penned and directed an adaptation of the Goldoni comedy La vedova scaltra The Cunning Widow for Sis Company, giving Otake Shinobu a great role to show off her talents. The popular theatre companies Otona Keikaku and Gekidan Shinkansen joined forces for a co-production under the name Otona Last Flowers, written by Matsuo Suzuki b.

Kirei Beautiful at Theater Cocoon, the third staging of the play written, directed and starring Matsuo, was also a spectacle. Fellow Otona Keikaku member Kudo Kankuro b. It was also a milestone year for veteran Shingeki companies. The drama examines the lives of women living in the province of Wakasa from the pre-war Taisho period through to the Showa era and its rapid postwar economic growth.

The multi-generational cast could really show off their capabilities. The final part of the play dealt with the construction of a nuclear power plant, an issue close to home for contemporary audiences. In the Kansai region, Ishinha, the company led by Matsumoto Yukichi b. Vast amounts of water filled the stage during the play. Borrowing the high-rises for its backdrop, the large-scale dream play reflected on Osaka as a city where people and things intersect through the sea, rivers and canals.

Yamaguchi, Hiroko Born in Gunma Prefecture in Graduated from the Department of Science at Ochanomizu University. In , she joined the Asahi Shimbun newspaper, working at its Tokyo and west Japan Fukuoka branches, and Osaka head office.

She worked mainly as a reviewer and reporter on cultural news, in particular for theatre. After working on the editorial board, she now writes editorials and leading articles for the newspaper.

Translation: William Andrews. Revisions for entrance exams to universities are fierce and competition between children increasingly intense with an increased consciousness of rank. In this situation, theatre can be a good opportunity to consider the creation of an identity by providing an opportunity to compare oneself to the people on stage. While opportunities for children to see theatre in performances charging admission are In spring there were 7 theatre troupes including Minwa-za and in autumn there were 16 theatre troupes, including Gekidan Nakama, touring the regions and providing emotionally moving performances to large audiences of children.

Since the project called for 50 performances in 50 days, this limited the performances by any one theatre troupe to a maximum of 6 performances. So this means that the two projects together can have maximum impact and cover the entire country.

There were performances for , children, so unlike the original Nissei program this is nationwide and is on a huge scale. There are increasing numbers of international festivals for children held from the spring into the summer. Even as the festival was about to celebrate its 10th anniversary, some members of the Okinawa City Council opposed holding it. There were 6 symposiums and 2 workshops, but the festival attracted lesser audience than previous years, only 25, in total. It is We hope that the festival can continue to be held in the future.

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