Otojirō Kawakami

Kawakami was inspired to start his own acting troupe after receiving acting training under a rakugo master [1]^:p55 and after seeing the shosei shibai ("student theater" or "amateur theater") of fellow activist Sadanori Sudo, which "aimed at being realistic, just like in the West, and thus could claim to be following government directives to be as Western as possible in every possible way. … Far from being career-driven professionals, like the kabuki actors, they portrayed themselves as romantic, devil-may-care bohemians. Their amateur status freed them from all the constraints and conventions of the traditional theater."[1]^:pp55–56 Under the influence of philosopher Chomin Nakae, Kawakami began staging theatre productions as an outlet for his political views.

In 1888, Kawakami developed a satirical song that would make him famous.[2] At the end of his troupe's play "The true story of our Itagaki's disaster" (based on a failed 1882 assassination of the aforementioned Itagaki) "a lone figure wearing a jaunty white headband swaggered out and with a flourish knelt in macho samurai-style, his knees spread wide apart, in front of a gold leaf screen...He was wearing a red samurai surcoat with exaggerated pointed shoulders above a plaid men's kimono....Flourishing a black fan emblazoned with a red rising sun...while a rhythmic shamisen strummed, he spat out the words in a husky rapid-fire patter, improvising verses as he went along. He sneered at the government, the rich, and the kind of people who dressed in Western clothes, aped Western ways, and spent all their money on geisha....The catchy chorus--'Oppekepe'-imitated the sound of a bugle or a trumpet:

Impressed by this troupe, then-Prime Minister Itō Hirobumi invited them to a private party where he would introduce Kawakami to one of his favorite geisha, the woman her Western fans would later dub Sada Yacco.[1]^:pp57–58

From January to May 1893, under the suggestion of a mutual friend Baron Kentaro Kaneko, Otojiro traveled to Paris to study European theater and learn how to improve his troupe's success.[1]^:pp62–64 The innovations he instituted on his return, from lighting nothing but the stage and using only electric lights to using only light coatings of makeup and speaking naturally, "could no longer be dismissed as 'student theater.' It was a radical new drama in its own right—New Wave theater, shinpa."[1]^:p64 Five months after his return, he and Sada Yacco were married.[1]^:p64

"Otojiro had a genius for giving the public what it wanted. He had a string of hits with some spine-tingling melodramas based on contemporary events. … But he could never break free of his money problems. Right in the middle of a successful run his debtors would appear with a demand or bailiffs would come to seize some of his property."[1]^:p65 In an attempt to overcome his financial problems, Otojiro decided to construct his own theater the Kamakami-za, "one of Japan's very first modern theaters, designed on the French model with electric lighting throughout and no hanamichi … instead of being open and welcoming like an old-style Japanese theater, with slatted wooden doors that slid out of the way and an upper floor displaying colorful posters of the latest production, it was a hefty three-story brick-and-stone building in the Palladian style with narrow doors, small windows, and a large auditorium. Emblazoned on the proscenium arch above the stage, framed within a frieze of chrysanthemums, was the legend THEATRE KAWAKAMI."[1]^:pp68,72 With a deposit of fifty thousand yen,[1]^:p68 it took three years to construct and had its grand opening on June 6, 1896.[1]^:pp68,72

Despite their success, the newly named Kawakami Theatre Troupe was still beset with debt. Otojiro thus decided to run for the Japanese Diet. Moving the couple to "a six-sided Western-style house" in the village of Omori,[1]^:p78 Kawakami threw a large outdoor campaign celebration and courted the wealthy landowners and geisha of the area, even employing his wife to contact her previous geisha clients.[1]^:pp78–79 "The press, however, was implacably hostile. Here was he, a riverbed beggar, an outcast, barely human, daring to think of sullying the purity of parliament with his presence. Even national papers targeted his small local campaign."[1]^:p79 The negative press would ultimately lead to Otojiro's defeat, putting the Kawakamis even deeper in debt.[1]^:p80

"Desperately depressed,"[1]^:p81 the couple decided to buy a small sailboat and escape to Kobe. At each village they stopped at they would exchange stories for lodging.[1]^:p86 The newspapers, catching wind of this, reported on the couple with such furor that upon their arrival in Kobe large crowds gathered to greet them.[1]^:p87 Adding to the sensation was Otojiro, who, being "an inveterate self-publicist, sent off letters to the papers reporting their progress and declaring that they were on their way to Korea or possibly Shanghai, to board a ship for Europe."[1]^:p86

While in Kobe, the couple met Japanese impresario Kushibiki Yumindo, who, hoping to improve his business providing all things Japanese to the West, offered to sponsor their theater troupe on a tour across the United States.[1]^:p88 They immediately accepted and gathered a troupe, setting sail for San Francisco April 30, 1899.[1]^:p91 Over the next two years, the Kawakami troupe would tour theaters in the United States, London, and Paris, becoming the first Japanese theatre company to ever tour the West.

Otojiro, no doubt in consultation with Yakko, had pondered long and hard about what would best suit Western audiences. New Wave drama depended on language and was too tied to current events to travel well. Instead he presented some of the most famous and well-loved scenes from kabuki plays. These were timeless and would be exotic for what he judged to be Western taste. He cut back the dialogue, which, being in Japanese, would be incomprehensible to the audience, and beefed up the visual elements, putting in plenty of dancing, exciting sword fights, and comic interludes.

He also simplified the plays and cut them to digestable lengths. When the troupe performed to Japanese audiences, two plays had taken up the entire day. For the Americans he had crammed four into two and a half hours. … Otojiro was later panned for having offered up bastardized kabuki to Western audiences. But his changes, though radical, were not entirely outside the spirit of the traditional theater….In the past kabuki had been every bit as subversive as Otojiro’s New Wave theater.”[1]^:p98

In San Francisco, the troupe performed four pieces:[1]^:pp99–100

• The Duel (Sayaate/"Clashing Swordhilts") – two samurai, one handsome and heroic and one comic (Otojiro), fight for the attention of the same Yoshiwara courtesan (Yakko)
• The Royalist (Kusunoki or Kojima Takanori) – a patriotic drama with "vividly realistic fights. It ended with a dramatic battle in which swords flashed and the actors leapt around, performing agile judo throws." [1]^:pp99–118
• The Maiden at Dōjō-ji Temple (Musume Dōjō-ji) – a woman (Yakko) is scorned by a monk and, pursuing him to a temple, kills him in her fury
• Dewey Day Celebration on the Pine-Fringed Shores of Miho (Miho no Matsubara) – a series of folk dances celebrating Admiral George Dewey "who had overseen the destruction of a Spanish flotilla in Manila Bay at the start of the Spanish–American War the previous year"[1]^:p100

For their first performance in Chicago, the group performed "The Royalist" and "The Maiden" to great success.[1]^:pp118–119

By the time the troupe arrived in Boston, they had developed Geisha and the Knight, a pastiche that became a universal success throughout America and Europe. As Sadayakko remembered it, "It was a queer mixture of Japanese plays, but it appealed to the American mind with love, and delighted with our gorgeous costumes."[1]^:p125

"The Geisha and the Knight," also billed in mock Japanese as Geisha to Somaray, was the highlight of their repertoire. It was a stroke of genius—a knitting together of The Duel (Sayaate) and the hugely popular Dojoji to make a single drama. The new play embodied all their strengths—thrillingly choreographed fight scenes, humor, split-second costume changes, and gorgeous scenery. Above all it provided the perfect showcase for Yakko's exquisite dancing and spine-tingling death scene.

The first act, "The Duel," is set in the Yoshiwara pleasure quarters, before a spectacular backdrop showing a street of wooden teahouses fading in sharp perspective into the distance. Cherry trees laden with brilliant pink blossoms adorn the stage. A beautiful geisha has rejected the advances of a boorish samurai named Banza in favor of her true love, Nagoya. Banza challenges Nagoya, striking his sword hilt. A fierce battle ensues between the two samurai and their bands of retainers, with plenty of energetic sword play, hand-to-hand combat, and acrobatic throws.

For the second act, "Dojoji," Yakko's piece de resistance, had been subtly altered so as to merge seamlessly with the first. The backdrop was the temple courtyard with a great bell covered by a tiled roof and mountains in the background. There the geisha has discovered that Nagoya is betrothed to another. He and his bride-to-be have fled into the temple grounds. She dances before the gates, trying to seduce the monks into allowing her to pass. Then the bride-to-be appears and the geisha tries to kill her, but is prevented by the samurai. Loosing her luxuriant waist-length tresses, which fly about like a lion's mane, she turns into a raging fury and dies of a broken heart in her lover's arms.[1]^:pp125–126

Otojiro and Yakko, eager to tour Europe once again, organized a new acting troupe of twenty actors, including a female actress and four geisha. On April 10, 1901 the troupe set sail for London, arriving on June 4 of the same year.[1]^:p184 After touring several cities in Germany, Austria, Hungary, Russia, Italy, Spain, France, and Belgium, the troupe returned to Japan on August 19, 1902.[1]^:p203