At Kabukiza: A Time-Travelling Experience to Edo Japan
Seeking an escape from the typical tourist trail in Tokyo? Dive into the world of Edo Japan’s entertainment at the Kabukiza theatre in Ginza!
Sense of Wander: ★★★★☆
Located in Ginza, Tokyo, Kabukiza stands as not only the primary theatre in the area but also one of Japan’s most renowned theatres.
TOKYO, Japan — Originating in the bustling streets of Edo (present-day Tokyo) during the early 17th century, Kabuki has evolved into a cultural treasure that continues to enchant audiences worldwide.
The word “Kabuki” is a compound consisting of three characters that mean “song” (ka), “dance” (bu) and “acting skill” (ki), reflecting the composite nature of this art, which combines elements of music, dance, and drama — disciplines that would typically be performed separately.
Kabuki, characterised by its elaborate makeup, intricately-made costumes, and stylised performances, traces its roots to the innovative efforts of a female entrepreneur named Izumo no Okuni. In 1603, she performed in the dry river bed in Kyoto, and it found popularity among townspeople. For those visiting Kyoto, don’t miss the statue of Okuni by the Kamo river.
For those familiar with ukiyo-e, the woodblock prints from Edo Japan, many iconic portraits of the time feature Kabuki actors. Kabuki originated as a form of dance and drama performed by women, but societal concerns led to the introduction of an all-male cast — a tradition that endures to this day. The onnagata, male actors specialising in female roles, adds an extra layer of complexity to the art form, highlighting the versatility and range of actors. This dynamic is reminiscent of Peking opera, where male actors, such as Mei Lan-Fang, skillfully brought out the essence of women in their performances.
This ukiyo-e print by artist Toyohara Kunichika (1835-1900) showcases Kabuki actors Sawamura Tanosuke III portraying Princess Toki on the right and Nakamura Shikan IV acting as Sasaki Tozaburo, a high-ranking Kyoto official, on the left. These characters are drawn from the historic play "Chronicles of Three Generations at Kamakura" (Kamakura Sandaiki). Image courtesy of Museum of Fine Arts, Boston.
A woodblock print by Utagawa Toyoharu (1735 – 1814) provides a glimpse into the popularity of Kabuki plays in the 18th century. Apart from the standing audiences on the ground floor, there doesn’t seem to be much difference in the ways people enjoy Kabuki plays nowadays. Image courtesy of Museum of Fine Arts, Boston.
Getting to Kabukiza
Intrigued by tales of samurai honour, as well as the delicate nuances of human emotion embedded in Kabuki plays, I was lucky to spend half a day at the Kabukiza theatre during my recent visit to Tokyo.
Kabukiza can be easily reached by metro, by exiting at the Higashi-ginza metro station, or taking a short walk from Ginza’s main street. If you’ve booked your ticket online like I did, simply head to the basement (down the escalator at the northeastern corner of the theatre) to pick up your ticket.
As a theatergoer, I’ve visited many theaters worldwide, but Kabukiza stands out like none other I’ve experienced. In its basement, you’ll find a floor filled with vendors offering a variety of items and eateries. The ceiling is adorned with enormous traditional lanterns, each boldly inscribed with the Japanese word “Kabukiza,” infusing this modern shopping area with a touch of Edo aesthetic.
Inside the theatre, you’ll discover a range of eateries, cafes, and restaurants spread across different floors, along with shops for those seeking omiyage (souvenirs). There’s never a dull moment at Kabukiza!
The advertising panel outside Kabukiza Theatre informs passersby about the plays featured in the monthly program.
As I entered the theatre, the distinctive kabuki curtain, adorned with bold stripes of black, dark green, and red, immediately set the stage with its unmistakable kabuki aesthetic. My seat was near the hanamichi, or “flower path”, a footbridge traversing the auditorium that actors use to enter or exit the stage.
What plays to watch at Kabukiza?
At the heart of Kabuki lies a rich tapestry of storytelling, often drawing inspiration from historical events, legends, and myths. Kabukiza releases a new program each month, presenting both Matinee (daytime performance) and Evening Show nearly every day.
During my visit, the Matinee showcased the Kabuki version of the world epic The Mahabharata, a production that made its debut at Kabukiza in 2017. As a first-timer seeking a more traditional experience, I opted for the Evening Show, which featured two plays: “Lord Matsuura and the Drum of Chushingura” (Matsuura no Taiko) and “Chronicles of Three Generations At Kamakura” (Kamakura Sandaiki). The former, one of the most popular 20th-century plays, references the historic event involving the revenge of 47 royal retainers. The latter is a classic play based on the famous samurai battle during the Summer Siege of Osaka.
A scene from “Lord Matsuura and the Drum of Chushingura,” a captivating Kabuki play illustrating the revenge of the 47 royal retainers amidst the renowned samurai battle during the Summer Siege of Osaka. Image courtesy of Shochiku Co. Ltd.
Different from the usual Evening Show, the one I attended concluded with “Kaomise,” literally “face-showing,” an annual theatre event since the 17th century. Kaomise is held every year to showcase all the actors who will appear onstage during the following 12 months.
This season’s Kaomise featured three performances: “The Soga Brothers and the Seven Spring Herbs” (Haru no Shirabe Musume Nanakusa), illustrating a vendetta carried out by the Soga brothers in the Edo period; “The Sanja Festival” (Sanja Matsuri), recounting a legend associated with the origins of the Asakusa Shrine, where two fishermen fished a statue of Kannon (Avalokiteshvara) out of the water; and “The Sparrows of Yoshiwara” (Oshiegusa Yoshiwara Suzume). The story takes place at the Yoshiwara Pleasure Quarters in Edo, where the real identities of two bird sellers were revealed in the end as spirits of two sparrows.
Having read about Kabuki beforehand, I was expecting to witness the marvel of revolving stages and trapdoors facilitating the actors’ appearances and disappearances. But these theatrical devices weren’t used in the plays I watched. Nevertheless, there was an effective use of the “flower path”, or hanamichi, a footbridge that extends into the audience.
That evening, it felt as if I were transported to a bygone era, seated among men and women of the Edo period, being entertained by the actors on stage. However, without the English subtitles, I couldn’t fully grasp the play beyond the surface — the actors’ intricate costumes, masterful performances, and the palpable energy of the audience that made the evening unforgettable.
In the basement, an English audio guide was available for 1,000 yen, but it offered only a brief description and synopsis of the play. Opting for the printed program notes at 1,300 yen, I found a small section at the back with detailed synopsis of the plays in English. This allowed me to refer to the book throughout the performance and better understand what was happening on stage.
Hardcopies of the program notes cost 1,300 yen each. Though slightly pricier than the English audio guide, they provide a more detailed synopsis of the plays.
What else can you do at Kabukiza?
The Evening show runs from 16:30 to 21:00, occupying a good half day. During the first intermission, lasting about 20-30 minutes, many audience members choose to enjoy their bento (Japanese-style food packed in a box), either brought from home or purchased on-site. Alternatively, some opt to dine at the cafe or restaurant (reservations required, as securing a seat might be challenging).
Not feeling hungry, I opted for the taiyaki, Japanese fish-shaped cake. There was already a long line when I made up my mind, and just as it was my turn to make the purchase, the vendor informed me and the rest in line that they had sold out. The bento options were also sold out, so I ended up buying a mackerel sushi box at the cafe on the ground floor.
If you aren’t hungry during the intermission, you can also check out the souvenir shop on the ground floor, or the row of shops on the 3F, where a wide range of books, omiyaga, and kabukiza-limited products are on offer.
In the basement, the ceiling is adorned with enormous traditional lanterns, each boldly inscribed with the Japanese word “Kabukiza,” infusing this modern shopping area with a touch of Edo aesthetic.
A taiyaki vendor on the 2F of Kabukiza Theatre had sold out within the first 5-10 minutes of the intermission.
Contrary to my typical theater experiences, Kabukiza Theatre allows food and drinks at the audience seats during intermission.
When watching a Kabuki play, prepare to witness performances where actors showcase a delicate dance of emotion, portraying characters through exaggerated movements and expressive gestures.
Originally a popular theatre reflecting the tastes and fashions of Edo Japan, Kabuki’s enduring presence in today’s performing arts scene proves invaluable. It serves as a medium for modern audiences not only to gain insights into the entertainment of Edo Japan but also to contemplate the role this traditional art form plays in the 21st century.
Today, Kabuki enjoys international recognition as one of Japan’s premiere performing arts. Designated a UNESCO Intangible Cultural Heritage in 2008, it acts as a bridge between the past and present, preserving traditions while adapting to contemporary sensibilities. The unique fusion of music, dance, and drama in Kabuki has influenced various art forms, shaping the very fabric of Japanese culture, from literature to cinema.
On your next visit to Tokyo, don’t forget to plan a trip to Kabukiza to experience the ambiance of Edo Japan!
Nestled in the heart of Tokyo’s bustling streets, Kabukiza illuminates the city at night, serving as a timeless emblem of tradition and a guardian of the performing arts.
Tips for wanderer — To learn more about Kabuki, visit their official website.
For those interested in purchasing tickets for the Kabuki play, make your reservation on the website.
Even though I booked my seat the moment tickets went on sale, I could only secure a seat in the back (this also happened when I was securing a ticket for the Noh play at the National Noh Theatre). I suspect this is because the multilingual site (mostly used by foreigners) only allocates back-row seats. Yet, the prices remain the same whether you choose first-class front-row or back-row seats.