The story opened at a quaint little roadside teahouse, which was visited by some folk of noble standing - a lady and child (obviously noble from their nice clothes and skin painted white) and a samurai-looking retainer type [later found out they were on their way to meet the lady's husband, who was on the run from an opposing army]. Kogino (the retainer chap) sets his money down on a bench for a few minutes, only to get it mixed up with an identical money-containing device (I can't really say wallet and stay accurate) belonging to another chap by the name of Gonta. The mixup is discovered and despite his politeness Gonta is given a smart clout on the ear for being common and the toffs depart.
As night falls troops of the opposing army catch up and Kogino fights them off. This scene was interesting to watch, for though it was a fight scene, it wasn't intended to be realistic and seemed sort of part fight, part dance. A particularly impressive moment came when the enemy attempted to snare Kogino in ropes, but he slipped out, leaving them all together in a spider-web like pattern, which he then jumped on in a "Check me out."-kind of way. Alas, though, for all his impeccable choreography he is eventually laid low, and later some old man happens across the body, takes up his sword and appears to be in the act of cutting off the head as the curtain falls for the interval.
Part Two, as it were, mainly took place in a Sushi shop. My notes tell me that there were all kinds of relationship problems going on with the staff, but I didn't tweak on to any at the time. What I was able to follow was that Gonta came to visit his mother, feeding her some story about having been burgled in order to get some money, which then hid in a nearby tub. The old man from earlier then arrived, carrying Kogino's head, which he hid in another tub. Yes, both these tubs looked identical and were placed next to each other, and much confusion and trouble was in store! A general arrives, demanding the head of someone or other, but the head's not there, things are looking tense, but Gonta arrives with the head and takes the reward for himself. Another of the Sushi shop staff stabs him, but before he dies he explains all he has done and why.
I must admit, I didn't catch a lot of his monologue - it went on for quite a bit. In fact, during the second interval I overheard someone saying they fell asleep during the death scene and it was still going on when they woke up. The Useful Notes, though, say that the noble woman and child from earlier met up with the husband/father they were searching for, and Gonta did in fact save them by diverting the general's attention away from them. They were now dressed in plain robes, which denoted that they were posing as clergy and disappearing for their own safety. Though at the time I wasn't sure if they were priests or ghosts.
One interval later the second piece started, this one called Ninin Dojoji and being more of a musical routine and less story oriented. If asked to sum up my first impression of it, though, I'd say "A Day at the Campest Monastery (Clarkson Voice) In The World." Why? Well, two dancers at a temple showing off their skill I can accept, but when the monks start joining in, doing a dance with fluffy pink parasols, one really has to wonder what kind of sutras they've been reciting. Anyhow, the dancing was quite enjoyable to watch, interesting movements and props, and not a lot of emphasis on synchronicity. Perhaps that's because of an underlying Buddhist mentality (to match the setting) about walking your own path, and that everything is impermanent, so if you attach too much importance to watching any one dancer you'll not enjoy the dance as a whole. But that's just my theory.
To sum up, much like the last time I saw Kabuki it was an enjoyable evening, if a little long and difficult to understand at times. Since last time it was structured as several sketches, seeing a show that was mostly one main story made a change. Though I think if one only ever sees just one Kabuki piece it should be Shiranami Gonin Otoko, which I think not only epitomises but also satirises the form as a whole. Gosh, check me out with my theatrical snooty opinions - with these I can surely bluff my way into high society someday!
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| View from my seat this time 'round |
