Walking through the underground passage from Nipponbashi Station toward the Bunraku Theatre, I was struck by how eye-catching the new posters were — quite flashy for a Bunraku advertisement. They were also displayed in major Osaka subway stations, boldly promoting the upcoming Momijigari performances.
According to the information I found online:
A collaboration has been announced between the play Momijigari, performed at the July Kabuki Appreciation Class in Tokyo’s National Theatre and at the July–August Summer Vacation Bunraku Special Performances in Osaka’s National Bunraku Theatre, and the sword character ‘Kogarasu-maru’ from the online game Tōken Ranbu – ONLINE.
In the PC game Tōken Ranbu, one of the characters is named “Kogarasu-maru,” the same name as the sword used by Taira no Koremochi to slay the demon woman in Momijigari. This coincidence led to the current collaboration between the game and the Bunraku production.
I am not a gamer myself, so I’m hardly familiar with such things, but I do hope that this collaboration will inspire younger audiences to develop an interest in Bunraku. At the center of the poster stands the character Kogarasu-maru—very stylish indeed! On the left are the Bunraku puppets representing Koremochi, the demon woman, and Princess Sarashina; on the right are the Kabuki actors for the same roles—Matsushiroku as Koremochi, Umegawa as Princess Sarashina, and the demon. The tagline reads:
“Will you see it in Bunraku or in Kabuki?”
What’s slightly disappointing is that the Noh version of Momijigari wasn’t included. Perhaps the world of Noh, with its subtle aesthetics, simply doesn’t suit the showy visual style of the game. That said, Momijigari is one of the more flamboyant Noh plays, with its numerous characters, elaborate costumes, and dynamic choreography. The princess, her attendants, and the demon women all appear in vivid costumes, and there are several spectacular fight scenes. Its appeal lies in movement rather than stillness—a quality it shares with both Bunraku and Kabuki.
Perhaps this vibrant publicity worked: the audience that day seemed noticeably younger than usual.
The Performance
Rōse Tayū’s portrayal of Princess Sarashina was absolutely perfect. In the first act, his voice was high and clear, while in the second, as he transformed into the demon, it dropped to a deep, resonant tone, effectively dramatizing the metamorphosis. I had thought recently that his voice range had lowered in general, but it seems this was a deliberate adaptation to the role.
I also greatly admire Yoshiho Tayū, who performed Koremochi; his interplay with Rōse Tayū was controlled and beautifully synchronized. Both performers have relatively high voices, which, I think, helped convey the fairy-tale, almost fantastical nature of the story without strain.
As for the puppets, Ichisuke’s Princess Sarashina was magnificent. Each time I see his work, his artistry seems to have advanced further; he is already at a master’s level.
In the first act, when Sarashina dances, the way he manipulated the fan, tilted the puppet’s body, and added subtle twists was breathtaking. In the second act, when she became the demon, his vigorous movements rivaled those of live Kabuki actors. Expressing such transformations through puppetry is far more difficult than with one’s own body, yet he executed them effortlessly and naturally. There was applause, of course—but I felt it deserved to rise to the level of a storm.
Comparative Reflections
I have seen Momijigari many times in both Bunraku and Kabuki. The most recent Bunraku version I attended before this one was in November 2017 at the Bunraku Theatre, with the same pairing of Yoshiho as Koremochi and Rōse as Princess Sarashina.
In the Kabuki version, the princess is attended by four ladies-in-waiting—just like in the Noh version. The emphasis on splendor in this staging seems to have its roots in Noh, which is fascinating. In that sense, Kabuki’s version is actually closer to Noh than Bunraku’s is.
In any case, comparing Momijigari across Noh, Kabuki, and Bunraku offers a special pleasure.
“Will you see it in Bunraku, in Kabuki—or in Noh?”
Perhaps the best answer is: see them all.
“A collaboration has been announced between the play Momijigari, performed at the July Kabuki Appreciation Class in Tokyo’s National Theatre and at the July–August Summer Vacation Bunraku Special Performances in Osaka’s National Bunraku Theatre, and the sword character ‘Kogarasu-maru’ from the online game Tōken Ranbu – ONLINE.”
