Tachibanaya!!! The Life of Ichimura Uzaemon XV

Statue of Okami at the Kamogawa in Kyōto

In 1603 a female temple dancer named Izumo no Okami began the tradition of Kabuki, literally song-dance-drama, the Japanese traditional theatre originally intended for the plebeian section of society, with performances on the dry river bed of the Kamogawa River in Kyōto. It has survived 400 years of ups and downs and is today recognised by UNESCO as an Intangible Cultural Heritage.

250 years later, in 1853, Commodore Perry’s Black Ships, the Mississippi, Plymouth, Saratoga, and the Susquehanna, arrived in Uraga Harbour near Tōkyō triggering a series of momentous events that between 1853 and 1867 shook the very foundations of Japanese society ending Sakoku, Japan’s self-enforced isolation under the Tokugawa Bakufu, and culminating in 1868 with the abdication of Tokugawa Yoshinobu, the fifteenth and last of the Tokugawa Shōguns, heralding the Meiji Restoration.

Whilst the arts of Japan had flourished in the interim the transition to modernity, a period referred to as the Bakumutsu, was a time of enormous upheaval in Japan, a time of great anti-foreign sentiment which, with the Meiji Restoration, eventually heralded the end of the Japanese feudal era and its associated societal structure and the beginning of the industrial and political modernisation of Japan.

Into this milieu stepped the French-American Charles William Le Gendre who would not only advise on and influence Japanese foreign policy at the time but would also father a son who himself would, in time, become one of the leading lights of late Meiji, Taishō and early Shōwa era Kabuki theatre.

A French citizen, in 1854 Le Gendre married Clara Victoria Mulock in Brussels and moved to the United States becoming a naturalised citizen. The young Le Gendre was in service as the Deputy Manager of a bank when, in 1861, with the outbreak of the American Civil War he was commissioned as a Major into the 51st Infantry Regiment, which he helped recruit, eventually becoming one of its Regimental Colonels. During the war he served in the Union Army under General Ulysses S. Grant and was severely wounded during the Wilderness Campaign losing his nose and an eye and was honourably discharged in 1865 in New York with the rank of Brevet Brigadier General.

In 1866 he left his adopted country to take up a post as American Consul to Amoy in China with the view that he would later return to his adopted country. In 1872, on his way back to the United States, he stopped off in Japan and took up a post as advisor to the Foreign Minister Soejima Taneomi and later worked in a private capacity as an advisor to another Japanese politician the Marquess Ōkuma Shigenobu. In July

1874, for his work for the Japanese Government, he was awarded the Order of the Rising Sun, Gold and Silver Star; the first non-Japanese ever to receive the award.

Ten years before Le Gendre left his adopted homeland of the USA the Japanese Daimyō Matsudaira Yoshinaga, one of the Four Wise Lords of the Bakumatsu during the last days of the Tokugawa Shōgunate, had an illegitimate daughter with his chambermaid in 1856. The daughter, Ito Ikeda as she became known, eventually asked permission to end it all by committing suicide. She was placed in the custody of one of Matsudaira’s vassals, probably the Ikeda clan who apparently had a mansion in the area adjacent to Koishikawa Gardens called the Camellia Palace (Tusbaki Goten), and grew up in Tōkyō.

松平 慶永 Matsudaira Yoshinaga 1828-1890 幕末の四賢侯の一人 One of the Four Wise Lords of the Bakumatsu 福井藩の大名 – Daimyō of Fukui Domain

Though Le Gendre was already married to the daughter of a prominent New York lawyer, with whom he’d had a son named William, in 1872, while in Japan and staying at the mansion of Matsudaira, he met and, it was rumoured, had an affair with Ito Ikeda, when she would have been 16 years old, and that they conceived a child out of wedlock.

After Le Gendre and Ito’s wedding had been conducted traditional preparations were made for their future as a married couple. As marriage to foreigners was, in 1872, still banned the wedding took place in 1873 when the ban was rescinded under the influence of three of the most influential people in the Meiji Government; probably Ōkuma Shigenobu, Itō Hirobumi and one other who, though mortified, hid their disappointment.

Ito Ikeda 池田絲

Though Le Gendre’s second born son, the couple’s first child and eldest son, who would later become known as the Kabuki actor Ichimura Uzaemon XV, was born at Le Gendre’s Sasugaya residence on Tenjin-chō in the district of Hongō on the 5th

November 1874.

Given Uzaemon’s connection through his mother with Matsudaira Yoshinaga he would have been a 16th generation descendant of the first of the Tokugawa Shōguns, Tokugawa Ieyasu. In spite of his illustrious origins the fate of a mixed race child in Japan at the time would not have been good. At the age of four, and as a

consequence of probably having been born out of wedlock, in 1878 he was put up for adoption. He was adopted by Ichimura Uzaemon XIV, otherwise known as Bandō Kakitsu I, who gave him the name of Ichimura Rokutarō. His life on stage had begun and he would be subject to an early life of rigorous training to prepare him for the Kabuki stage.

Ichimura Rokutarō and Bandō Kakitsu I, 市村録太郎,初代坂東家橘

In 1878 Le Gendre and Ito’s first daughter Ai was born. She unfortunately died prematurely in late 1880 so Le Gendre and Ito tried for a third child. By then 51 years old Le Gendre was pleased with the third pregnancy and impending birth. Arrangements were made for Dr. Satō from the nearby Juntendō University Hospital to help out and he hurried over to set up a ‘sterilised environment’. On the 23 rd

August 1881 Aiko was born and though she wasn’t delivered in the maternity room her birth went smoothly. Just afterwards, looking at the baby it was remarked that she was the spitting image of her younger sister.

The older Le Gendre

Le Gendre’s principle secluded residence in Tōkyō, called the Camellia Palace (Tsubaki Goten) was located at Sasugaya. It was a vast building measuring in total 36,000 square feet; in Japanese measurements a thousand times two mats. It was located where Sasugaya Elementary School now stands in the neighbourhood of Koishikawa Botanical Gardens, Bunkyō-ku. It is likely to have been the Edo mansion of the Ikeda Clan. There was a tea pavilion which was managed by a man called Shōkichi and his wife Oshichi. Oshichi’s niece was chosen as the nurse during the birth of Uzaemon's younger sister Aiko along with two other women employed as Aiko’s wet nurses. A twenty six year old seamstress at the Le Gendre residence, Narukawa, was also employed in the privileged post of babysitter.

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Camellia Palace plan by Kimura Shōhachi「椿御殿」は小石川指々谷の天神町、現在の湯島 3 丁目文京区白山２丁目’Camellia Palace’ was located on Koishikawa Sasugaya’s Tenjin chō, currently Yushima Sanchōme, Bunkyō ku Hakusan 2 chōme

Kimura Shōhachi 木村荘八

The ‘Fauvist’ painter Kimura Shōhachi 木村荘 八 (1893-1959) who was friends with Uzaemon occasionally stayed there. It would seem that the Sekiya family, Aiko Toshiko and Kimiko, lived there until after the 1923 earthquake disaster when in 1924 they moved temporarily to the business premises of Aiko’s husband, Sekiya Yūnnosuke, in Yoyogi. However, as the business failed they then moved to Sannoshita in Aksaka and from there to Uzaemon’s Ushibuseyama villa at the coastal resort of Ushibuse, Numazu in Shizuoka Prefecture.

Shizue Katō 加藤 シヅエ

In Shizue Katō’s book, ‘Facing Two Ways: The Story of My Life’ she describes the property in the same area that belonged to the family of her husband Baron Keikichi Ishimoto, a Christian Humanist…

‘…Baron Ishimoto’s house, built in the old Kyōtō Palace style, stood in the Koishikawa District. The big square wooden gate had heavy swinging doors with iron fittings and a roof covered with dark grey tiles. Soft grey gravel covered the drive beyond the gate, and tall ginkgo trees with their fan shaped leaves stood on both sides like giant sentinels. In front of the entrance hall were camellia plants and dark brown Japanese maples. The house itself was divided into two wings: one Japanese and one foreign… …Western rooms in the Louis Quatroze style or a chamber furnished with a north-European stove’

On the evening of the third day after her birth, as is the custom, a ‘three-day horoscope’ was drawn up. Though Le Gendre’s initial reaction had been muted his sitting room, where a grand banquet was laid on with champagne, had been decorated with Japanese lanterns, the flags of various nations, and many bouquets of flowers. The event became quite unruly with a crowd of close acquaintances congratulating him boisterously in loud and voices.

関屋愛子 Sekiya Aiko

Safely delivered, Aiko was signed into the Ikeda family register and at the time, as the daughter and heir of the house of Le Gendre, it was remarked that his daughter would be brought up like a Princess and time and resources were spent making her childhood a blessing.

However, over the next two winters her life was threatened when she succumbed to diphtheria and croup. Doctors Satō and Yasoshima, alternating their attendance from Juntendō University Hospital, successfully supervised her care and recovery at the family residence though afterwards Aiko’s health remained precarious and as a consequence her parents were predictably pretty downhearted. It was unfortunate that Le Gendre neglected his relationship with his son which left Aiko, their third child, as their only remaining child living at home with them.

Interestingly, though it was remarked that both Aiko and Uzaemon had very different features, they both suffered from ‘syndactyly’, known as ‘gōshishō’ in Japanese, which is marked by overlapping or webbed fingers. The affliction badly affected Aiko’s hands and feet and she would occasionally suffer a loss of strength in both when her daughter Kimiko Noguchi would accompany her on outings when Aiko found it difficult to walk. According to Kimiko her mother Aiko’s health stabilised and she seemed happy enough and later on was particularly overjoyed that she basked in her brother’s affection.

Kimiko talked a lot about their atypical appearance. Aiko’s features were noticeably westernised but surprisingly Uzaemon didn’t really look that much like her.

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Uzaemon’s niece Kimiko commented ‘Like grandmother uncle was typically Japanese in comparison with mother whose looks which, quite frankly, clearly reflected and were fashioned by grandfather’s ancestry’

Ichimura Uzaemon XV with his niece Kimiko Noguchi - 十五代目市村羽左衛門, 関屋喜美子

The so called theory of Uzaemon’s mixed parentage has been verified from Iwanami’s Biographical Dictionary of Westerners (Iwanami Seiyō jinmeijiten) which describes the situation in detail. Rumours about Uzaemon’s birth had always been denied by Tōkyō’s older residents. However, in the Japanese author Satomi Ton’s definitive enquiry ‘The Legend of Uzaemon’ (Uzaemon Densetsu) conclusive information was gathered about Uzaemon in conversations with his younger sister Aiko, information which was also written and circulated by her substantiating what would otherwise have remained conjecture.

In Satomi Ton’s book it says that Uzaemon and his younger sister Aiko were both seen together on a train in clandestine circumstances. Both Uzaemon and his younger sister Aiko were smartly dressed in Western style clothes. Aiko stood out amongst the subdued Japanese clothing of the men and though dressed in Western clothes the impressively handsome Uzaemon looked obviously Japanese.

It was said that Uzaemon brought to the stage ‘pure clarity of speech’. From his adoptive father’s instruction, he was well trained in discretion, protecting his career and his reputation so that there were no supposed unusual circumstances surrounding him, in much the same way as Aiko who was brought up amongst people of similar attitude.

It is likely that Le Gendre would have been at the June 1879 performance at the Shintomiza when Prince Heinrich of Prussia attended, and most definitely on the occasion of the visit on July 16, 1879, to the Shintomiza by the one-time President of the USA Ulysses S Grant. Uzaemon would have been five years old in 1879 and one wonders if he attended the July 1879 performance. If he did, though Le Gendre may have been pointed out to him, it was doubtful at such an early age that he would have known about his relationship with him.

Shintomiza Theatre - 新富座

Then, in January 1881, at the age of seven he made his first official debut on stage at the Shintomiza during performances of Sambaso, Domyoji, Kurumabiki, Terakoya, and Senbonzakura taking the name of Bandō Takematsu. It was reported that though his hands were shaking his voice didn’t falter

Bandō Takematsu stage debut and shūmei, January 1881, Shintomiza Theatre明治十四年一月, 坂東竹松のデビューと襲名であった。

It was during an appearance on stage while he was still named Takematsu that he was recognised as Ichimura Rokutarō by Ito and Le Gendre. Rokutarō, together with the other actors, remained unflustered by the situation.

In 1890 Le Gendre left Japan to take up another advisory post in Korea leaving his family behind.

Okamoto Kido - 岡本綺堂

In March 1893, Uzaemon’s adoptive father Bandō Kakitsu I died. According to Okamoto Kido, the Kabuki playwright and author, in his book, ‘Talks on Meiji Era Theatre: Under the Lamp’ (Meiji Gekidan - Ranpu no shita ni te - 明治劇談ランプの下にて)…

…’the Ichimuraza Theatre’s entertainment at the time included Sadanji and Kakitsu’s acting troupes. They performed ‘Kondō Jūzō‘, also known as Yamabiraki Meguro no Shinfuji, and the Koto interrogation scene ‘Akoya’, the third act of Dan no Ura Kabuto Gunki. In the middle of the performance run Takematsu’s adoptive father and Onoe Kikugorō V’s younger brother, Kakitsu, suddenly became ill and died.

Unfortunately, after the performance had been suspended and the theatre closed, whilst discussions were taking place about what to do about continuing the performance run the theatre world was hit by disaster when the theatre burnt down. Kakitsu had a large oval shaped face and a soft tone of voice which also earned him the nickname of “hato poppo” (pigeons cooing’). He was called one of the greatest wagoto, or soft style, actors of his day. He most certainly ranked alongside the great and famous Dankikusa trilogy of famous actors, Ichikawa Danjūrō IX, Onoe Kikugorō V and Ichikawa Sadanji I.

Uzaemon would later become just as famous, especially for the role of Kirare Yosa, his forte. This was something for which it wasn’t necessary for him to be grateful to his father for. At the Kotobukiza Theatre Kakitsu’s Kirare Yosa, Sawamura Gennosuke IV’s Otomi, and Dengorō’s Kōmori Yasu had been performed, roles of distinctive character with which they were particularly identified. Kakitsu carried himself naturally and tenderly in his performance as Yosaburō, something which others were unable to achieve. His older brother Kikugorō also played the role of Kirare Yosa at the Kabukiza Theatre though his performance fell short of that of his younger brother. In his last years Kakitsu excelled in his soft wagoto style of acting and he also chose, to popular acclaim, to perform the roles of Kumagai in Kumagai Jin’ya the final scene of act two of Ichi no Tani Futaba Gunki, Fukashichi from Mikasayama Goten, the fourth act of An Exemplary Tale of Womanly Virtue, Imoseyama Onna Teikin, and Ōoka Echizen no Kami also known as Ōoka Tadasuke all in the style of Danjūrō. With his sympathetic style of acting he soon became a prominent figure. It was extremely unlucky that he passed away at the age of forty-seven from acute peritonitis’.

After the death of his adopted father, in July of that same year at the age of nineteen Bandō Takematsu, in a ceremony called shūmei, took the name of Ichimura Kakitsu VI at the Kabukiza at the performance of the play Katakiuchi Tsuzure no Nishiki.

July 1893, Ichimura Kakitsu VI shūmei, Kabukiza Theatre 明治二十六年七月, 歌舞伎座, 六代目市村家橘の襲名であった。

Katakiuchi Tsuzure no Nishiki「敵討襤褸錦」(かたきうちつづれのにしき)

When he was performing he also visited Ito’s residence, putting up a smoke screen about his mother’s origins every time she met other young actors in his home. When Kakitsu, later Uzaemon, was at home with Aiko he said that, though at first he was prepared to pretend not to recognise her, he realised from the situation that they really were older brother and younger sister. From 1897 onwards the mother, her twenty-four year old son, and his seventeen year old sister, parent and children, older brother and younger sister, began to meet on a regular basis. Around then a waka which Ito had penned about her son was shared amongst them.

A dagger in my hand (holding a dagger to commit suicide)Free of bitterness at the end and facing death I think now only of my child with unbearable wonder,(In my sorrow, as I think of death, it seems this child has future prospects and my spirit is transformed)Even if the usual means of farewell is to be by a drawn long sword my dearest child, the child of my heart, is magnificent(At the time of death when, child of my heart, we are torn apart the unsheathed sword is put aside)A neighbour bestows great prospects on a high ranking person’s child whose mother country he is destined to serve!(The child of a worthy person lately succeeding in his career who for the sake of destiny is dedicated to his mother country)

ふところ刀を手にしつつ（懐剣を持って自害しようとしている）うらみなむ吾子の末さへ思われて死ぬるいまはのただならぬかな（私を恨むだろうこの子の将来が思われて死のうとしている私は気が動転している）さらばとて太刀ぬきつつもかたへなるいとしき吾子に心ひかるる（さあ死のうと刀を抜いたが傍に寝かした子に心を惹かれてためらわれる）よき人の子となりて世に栄えかし母は御国につくす命ぞ（立派な人の子になって出世しておくれ母はお国のために命を捧げます）

Richard Sorge -リヒャルト・ゾルゲ, Hotsumi Ozaki -尾崎秀実

The waka came to light in later years as a consequence of an extremely sad, and final, event in the life of Uzaemon’s niece Sekiya Toshiko. On November 7 th 1941 the Soviet spy Richard Sorge, and a Japanese accomplice Hotsumi Ozaki were arrested for espionage in Sugamo Prison. Though her sister Kimiko always denied her sister’s involvement in the Sorge Affair, Toshiko, the one time lead soprano at La Scala, Milan, who had also been under investigation and who it was rumoured was one of Sorge’s mistresses, committed suicide on the 23rd of the same month. The waka was found in a box of her papers. Though she had left instructions for her papers to be burnt, as a consequence of her mother’s last will and testament they were preserved. She also left an ornate sword with mother of pearl inlays complete with a tachi stand. Toshika’s suicide note which was written on the back of a sheet of music which she had composed called ‘Noibara’ or ‘Field of Thorns’…

Sekiya Toshiko (関屋敏子), husband Yagyū Goro (柳生五郎)

‘Even if at the age of thirty-eight I, Sekiya Toshiko, am scattered like fragrant cherry blossoms I realise that I will not be lost forever. With sincerity I will keep Toshiko’s honour safe for eternity, year after year for a million years the world will know how, in this, I demonstrated the purity of my heart, thoughtfully done to protect the dignity of the arts of greater Japan. Sekiya Toshiko, suicide note’

関屋敏子は、三十八歳で今散りましても、桜の花のようにかぐわしい名は永久消える事のない今日只今だと悟りました。そして敏子の名誉を永久に保管していただき、百万年も万々年も世とともに人の心の清さを知らしむる御手本になりますよう、大日本芸術の品格を守らして下さいませ。— 関屋敏子、遺書

Uzaemon and Aiko were upset by Ito’s waka. It especially affected Uzaemon who became very became troubled by it. However, once the meetings between parent and children and older brother and younger sister began it really felt like a fresh start, with the older brother and younger sister becoming close friends, always chatting and getting along, talking about wanting to compose poems.

The Le Gendre family get together – a sketch by Kimura Shōhachi

In 1897 on a return trip to Japan from Korea, Uzaemon’s father Le Gendre, visited his family several times between October and December, and on one day when he arrived to join them for dinner the increasingly refined Uzaemon patiently regarded his father. Nevertheless, on that day they each openly referred to the other as parents and children and older brother and younger sister. As he introduced himself Le Gendre excitedly embraced his wife and children and chatted with them, especially about his son who’d had ‘a painful upbringing’, for which he apologised. Afterwards they chatted about Ito’s very regrettable and extraordinary suffering, about which Le Gendre was admonished, and about preventing her suicide. They both agreed that no matter what was happening they absolutely could not imagine the mother’s hopeless suffering with which they consistently sympathised.

And then Uzaemon chatted with his father about his career. His father, uneasy speaking in Japanese, conversed in French. The dialogue was transcribed into a document where significant things that were discussed were recorded such as…

‘The origin and development of the Japanese play occurred accidentally out of an assortment of actors’ ancient ordinary customs in which there was less concern about the circumstances. In France it’s about artists, about politicians, and the more esteemed wealthy people. In my humble occupation I have no use of such expectations. Increasingly endeavour and triumph are forgotten. Danjurō and Kikugurō are hoping for and thinking about those things which are most important. However, the presence of the divine brings the blessing of ability and beauty and with increasing skill and influence develops into an exceptional revival. Arts don’t have a successful selling point, just to have breathed in the silken thread is to have prolonged one’s own destiny. Naturally excellent all his life his art is effortless for a number of reasons; certainly, Japan’s best is ultimately the most exalted’

At the time Ito told her husband Le Gendre in gratitude that she was honoured and grateful for an excellent actor’s actor who was dedicated and peerless and that his path was conferred on him by the practice of following a divine spirit . At a later time Le Gendre secretly said that it went without saying how honestly proud and supportive he felt about Uzaemon.

Le Gendre returned to Korea where he died of a stroke on 1st September 1899 after he had collapsed after drinking champagne at a party to celebrate his birthday hosted by the Korean Royal Family. Unfortunately, as was reported in the New York Times and the Chicago Tribune in 1902, his Order of the Rising Sun, memoirs and political papers and a sword given to him by Saigo Takamori, which he had left to his American son William (an Executive of Brown Bros. & Co. now Brown Bros.

Harriman & Co. Bank) were all destroyed when his son’s house at Mount Kisco in New York State burnt down. Also lost was a painting called ‘Witchcraft’ by the American illustrator Howard Pyle

Leaving Fukushima both Ito and Aiko went to Korea to investigate the events of Le Gendre’s death and to attend to and conclude the necessary arrangements to commit Le Gendre’s mortal remains to the Korean soil. Ito’s grief was intense. She commented that, in his refusal to focus on profiting from his activities, ‘I am pleased that he unstintingly gave his whole life in service to other countries’.

Grave of Le Gendre

Viscount Matsudaira Kataharu, 松平容大子爵

Afterwards they discovered details about their ancestry which they felt might improve their prospects. At a later meeting with the heir of Matsudaira Yoshinaga, probably Viscount Matsudaira Kataharu, in the town of Ōkuma in Mutsu Province, modern day Fukushima, in formal language their mother Ito told her story which was later written down verbatim.

‘However honourable and significant his status was, once he left and abandoned me I became increasingly insignificant. Even so, though I had the honour and opportunity to cultivate closer relationships I am sorry that Ito, the nobody, only has vague information about her parents. Both of them, master and mistress, in order to deal with their anxiety…together secretly boasted about their noble and historic lineage and that their birth and social status is an example that is in harmony with and benefits a Lord of this country. Now, after such a long time, my name is more influential. Even though the wife of a nobleman from a foreign country I was given an opportunity and was engaged as the Prince’s tutor… …with the Japanese strength of mind I loyally carried out their wishes, and in accordance with a woman’s merits faultlessly accomplished everything that has been mentioned. Pardon me but all

along our purpose and dedication has been invaluable. Mine to fulfil my obligations to my country and my husband’s to serving the prosperity of his heritage.’

Ito continued, ‘Though I may be speaking out of turn, in life I am discreet and modest. My wishes are remarkably humble. Not at all noble enough to flatter any intellect, I am expected to lose gracefully and bow in gratitude. That I am much less worthy than the richest of the intellectual aristocracy is certainly an insincere assumption that I’m sure the nobility appreciate.

If my spirit is peaceful it becomes harmonious. I naturally pass the time resting and enjoying myself in moderation which according to the doctor ought to keep me healthy. My intentions with respect to loyalty and filial piety aren’t so different. I loved the person who is my favourite. I must hold dear to what I say and not write words for entertainments sake which are untrue and disdainful in such a discrete situation. I speak frequently about the cause of the problem, a situation in which I am the exasperated wife of the person who was my sweetheart, friend and spouse.

The little time that Ai spent with us was a gift before she was too soon taken to heaven. My thoughts were angry on behalf of Ai’s spirit to which I reached out. I will talk about this until I am told to shut up. My story is often eventful and I have a sense of my life having been wasted. During his time away I pleaded with heaven for him, an especially invisible nobleman whose time spent away was particularly heartfelt.

I reason with my intellect so as not to allow my feelings about that absent person to become real and completely unbearable.

I kept a little make up and an old poem that I brought along which I kept in my room. Because of the conceivable likelihood of the threat to Le Gendre’s family’s dignity I then still reached out to embrace Ai in a significantly Christian like way. Perhaps, it would seem, a lesson learnt from Le Gendre. We should have continued in this spirit.

That was until now. With this final setback (this) family have now enforced their decision, unhappy about how long this important matter has persisted unchallenged’.

Aiko remarked openly that she was at the time influenced by the extent of her mother’s qualities rather than her father’s.

After marrying Sekiya Yūnosuke, from Mutsu’s Nihonmatsu clan, Aiko had no choice but to stay in Ōkuma in Fukushima. With a mother’s strength of will she commented that, ‘I was fortunate in that had I not been totally influenced by my mother and pregnant with Rinko (probably Toshiko) in different circumstances I may have contemplated suicide’.

関屋愛子 Sekiya Aiko (ル・ジャンドル愛子 Le Gendre Aiko) with her husband the businessman 関屋祐之介 Sekiya Yūnnosuke

and their daughter Sekiya Toshiko (関屋敏子)

Two pivotal issues in Uzaemon’s life occurred in 1903 when he was twenty-nine years old, the death of Ichikawa Danjūrō IX and the ceremony, or shumei, of taking the name Ichimura Uzaemon XV. In the lead up to the first a huge row blew up about the second.

Though there is no recording in Kabuki Nenpyō and Kokuritsu Gekijō Jōen Shiryōshū of the staging of "Kumagai Jinya" at the Kadoza in 1903 that this had been scheduled is evidenced in this triptych by Hosai Baido of a performance of ‘Kumagai Jin’ya’ which as indicated in the original panel should have taken place at the Kadoza in Ōsaka in August 1903. The triptych had been painted and printed but not marked with Baido’s seal which should have appeared in the left hand panel.

豊齋.熊谷陣屋（くまがいじんや）- 明治三十六. 左から右までです... 市川左団次（弥陀六実ハ宗清）中村芝翫（熊谷直美）　尾上梅幸（女房相模）　市村家橘（源義経）Hōsai. Kumagai Jinya - 1903. From left to right… Ichikawa Sadanji I as Midaroku, Nakamura Shikan V as Kumagai Jirō, Onoe Baikō VI as Sagami, Ichimura Kakitsu VI as Minamoto no Yoshitsune

The performance in the picture should have taken place in the four months between March (after Onoe Eizaburō V took the name Onoe Baikō VI) and October 1903 (before Ichimura Kakitsu VI took the name Ichimura Uzaemon XV). If it had been due to take place in August 1903 at the Kadoza Theatre it is highly likely to have been cancelled as a consequence of the huge row that blew up over Kakitsu’s shumei (or name change).

角座 Kadoza

The row seems to have stemmed from an earlier speech Kakitsu had made at his stage debut in ‘The Execution Grounds at Suzugamori’ when he alternated the roles of Shirai Gonpachi and Banzuin Chōbei, when in an on stage Kōjō ceremonial announcement he spoke about his thoughts concerning his forthcoming shumei which may have included some remarks about his ‘illustrious origins’. Here are the voices of Ichimura Uzaemon XV and Matsumoto Koshiro VII in a recording of the play ‘The Execution Grounds at Suzugamori’ - originally recorded in January 1926 it was re-released as recording number 35188A in September 1931. Gonpachi was played by Uzaemon and Chobe by Koshiro

Onoe Eizaburō V as Yaeume and Ichimura Kakitsu VI as Shirai Gonpachi in ‘The Execution Grounds at Suzugamori’

鈴ヶ森に傾城八重梅は五代目尾上榮三郎, 白井權八は六代目市村家橘であった。

Up until that point Shikan, Baikō, Yaozō and Katisu had been inseparable. The incredibly conceited Shikan then took huge offence and became the lead protagonist in a coordinated campaign against Kakitsu’s shumei and tried to enlist the help of Danjūrō who, after he was reprimanded by Kōmazō VIII, began inciting Kakitsu.

Baikō and Kakitsu were definitely in Ōsaka where they were summoned to see Shikan to discuss the issue. Afterwards Baikō joined up with the troupe managed by Yaozō and went on a regional tour to Hokkaidō. On the 8th August 1903 Shikan, Matsusuke, Kakitsu and others were due to appear on stage in performances at

Ōsaka’s Kadoza. Kakitsu did play at the Kadoza in the role of Yosaburō in the drama ‘Yowa Nasaka Ukina no Yokogushi’ when the role of Otomi was played by Nakamura Shikan V. However Shikan, who because of his conceitedness was nicknamed the ‘Emperor’, vacillated about whether or not he would continue to appear and then left the theatre along with his troupe. Isolated over the matter he gave up his actor’s permit giving as his reason ‘cessation of business’. Resigned to the situation he left Ōsaka and though he had become exceedingly angry his surprise departure was seen as malign revenge over the issue. Kakitsu, who was about eight years younger, ranted at those of lower rank and thought that he ought to be on stage simply because it would have been strange for him to not have been. Furious at Shikan’s troupe Kakitsu simply returned to Tōkyō whilst Shikan, who had lost, held local practice events at his home. Kakitsu’s dignity remained intact and he responded by telling Shikan, ‘You, brother, seppuku seppuku’. In the end Shikan ended up completely isolated and indignant. Eventually due to a bout of ill health Shikan’s anger about what Kakitsu had said faded.

Four year before the events of 1903, in 1899, two of the most prestigious actors in Meiji era Kabuki Ichikawa Danjūrō IX and Onoe Kikugorō V had been filmed by Shibata Tsunekichi performing ‘Momijigari’ (Contemplating Maples) on the open air stage at the Bairin Teahouse at the rear of the Kabukiza Theatre. It is the oldest Japanese film in existence. At the time Danjūrō remarked, ‘It is terribly strange to be able to see my own dance’.

Then in September 1903 Danjūrō died. Okamoto Kido in his book Talks on Meiji Era Theatre Under the Lamp, Meiji Gekidan Ranpu no Shita Ni Te, describes the events surrounding his death…

Danjūrō was able to safely play… …in the May performance run… The Kabuki plays were first ‘Lady Kasuga’ Kasuga no Tsubone, then the middle act ‘The Lost Dress Coat’ Suō Otoshi, and the second ‘Komagata Osen’. Danjūrō only appeared in the first as he played two roles, Kasuga no Tsubone and Tokugawa Ieyasu for which there were costume changes. He was in the same play in June Meiji 24 (1891) at the same theatre when he first performed Ōchi Koji’s work. For Danjūrō this was the second time. His emaciated figure was strikingly noticeable. It did perhaps cause some foreboding that he would not be embracing the future changes of the stage. Kikugorō had died. Danjūrō had been seen on stage for a long time. It was inevitable that the future world of Tōkyō drama would be transformed. There was a lot more furtive knitting of eyebrows amongst theatre goers. As had happened previously, before he could work anymore he disappeared, ending his professional involvement. He spent some time that summer and during a pleasant autumn on holiday at his villa in Chigasaki, taking a break from mid-summer and mid-winter plays, something he had been doing for years.

Ichikawa Danjūrō IX - 九代目市川 團十郎

In 1897/1898 Danjūrō built a villa which was called Koshō-an at Kowada in Chigasaki, which was then a village. It is now a children’s playground in Heiwa-chō

Koban on Teppō michi where a monument has been built and which is now referred to as Danjūrō-yama. At the time Ichimura Uzaemon XV was still called Ichimura Kakitsu VI. That year in the autumn performance run he would be taking the name of Ichimura Uzaemon XV. The announcement of this was made at the Matsuasa restaurant in Ōmori District to which every newspaper critic had been invited and to which, as the newspaper Tōkyō Nichi Nichi Shimbun’s drama critic and journalist, I had also been invited. It seemed like autumn that morning. It was Sunday, 13 th September, and a gentle rain was falling. I went to the restaurant and arrived at the appointed time, 5pm in the afternoon. The disciple of the aforementioned Ichimura, Bandō Ayame who was from the Kantō Region was waiting on them and serving the food. Including me almost all the gentlemen from each of the newspaper companies were in attendance though his master Kakitsu wasn’t there. He was at Chigasaki where things were not good and to where, that morning, expressions of sympathy had been sent. Ayame kept saying how sorry he was.

Danjūrō’s condition had worsened they said, a message that was also passed to the Press. The public also already knew. Naturally we already knew. In light of the news we all knew that it was uncertain whether this time, given the circumstances, he would be able to recover again. His heart was under tremendous strain though only that day he had been chatting a lot with Ayame. Everyone was mingling and during pauses exchanging their sympathies talking about their sadness that Horikoshi (Danjūrō’s birth name) was finally moving beyond hope. Our foreboding had become reality. We were also told that ‘Kasuga no Tsubone’ had been the final stage event. Along with the others there I posted my report to my company by telephone with lowered voice that Danjūrō’s critical illness was final.

It was very calm. The day was a little bit chilly and was quickly made overcast by the rain. That afternoon by about 6pm on Ōmori District’s beach it had become really dark. Kakitsu arrived wearing a frock coat and hurried upstairs. His greeting was very polite. He said thank you very much, and that he had arrived after having determinedly galloped from Chigasaki. Speaking quickly he said that this afternoon Danjūrō had finally died. He spoke at length and in great detail about the circumstances of his death. Though we had been resigned to this happening now that we knew the news with certainty we all suddenly felt gloomy.

Ichikawa Danjūrō IX memorial death print (shini-e) Hōsai Baidō, Utagawa Kunisada III

Meiji 36 (1903)http://www.rekihaku.ac.jp/exhibitions/project/img/010717/egakikata/pic2_63b.jpg

Danjūrō had been entrusted with and expected to make the Kōjō ceremonial announcement at Kakitsu’s name change. Now that he had gone Kakitsu, who was the star performer, seemed somewhat dejected. He was like this for a while after Danjūrō’s death and made half-hearted attempts to entrust this responsibility to

others. He would sooner have entrusted himself as the person to make the Kōjō ceremonial announcement and it was decided by those to whom he had said this that ‘it would be best if they were to provide instruction’. This was done for no other reason than because of what he had said to others. Anyway because this was being done for that reason he made a speech saying he had been explicitly invited to hold this unique honour and to ‘please pardon my manners’. Though it was raining incessantly Kakitsu retraced his steps to Chigasaki in the downpour.

Afterwards, in his zashiki tatami mat room, he became increasingly depressed. Arrangements had to be made for the dead Danjūrō. The people from the newspaper companies which published articles every day of the year also left quickly after he had gone. When he returned straight away on the Monday we did the inevitable and suspended publication. Ayame seemed so pitiful and had switched off until later on in the evening and when it was getting late he started to talk again and speculate about the deceased. The autumn rain was still pouring down and the lonely sound of the darkened sea could be heard. That evening was a really desolate one. Danjūrō was born in Tenpō 9 (1838). I heard that he was 66 years old when he died. His funeral took place one week later and was arranged by Aoyama cemetery. On that day it also poured down with rain.

Okamoto Kido continues… …The inauspicious death of Gekisei (Danjurō’s nick name) caused a great stir and some confusion and many emotional debates amongst his peers as to who would conduct the Kōjō in his place. Uzaemon kept his own counsel whilst the debates churned around him. On the opening day performance in October 1903 Danjūrō IX’s death portrait was placed on stage alongside that of Uzaemon’s uncle (his adoptive father’s older brother) Onoe Kikugorō V (formerly Ichimura Uzaemon XIII) who had passed away 6 months earlier.

Onoe Kikugorō V - 五代目尾上菊五郎

An actor’s portrait by Toyohara Kunichika of Onoe Kikugorō V as Nikki Danjō in the play Ura Omote Sendai Hagi from the performance at the Ichimuraza Theatre in the ninth month of Meiji 1 (1868) when in a celebratory ceremony called ‘shūmei’ his name was changed from Ichimura Kakitsu IV to the prestigious name of Onoe Kikugorō V. The picture is entitled in the left panel ‘To the actor Onoe Kikugorō’, in the right panel ‘A gift from his fans’. The mon, or crest behind the figure of Kikugorō V is his line of actors’ informal crest of four interlinked hoops ‘Kaemon wa Yotsuwa’

豊原国周筆の役者絵に五代目尾上菊五郎の仁木弾正を勤めては狂言の『梅紅葉錦の伊達折』今が同『裏表先代萩』明治一年の九月に市村座の興行から前に四代目市村家橘それその頃五代目尾上菊五

郎と言う襲名まで呼ばれたと「尾上菊五郎丈江」や「贈るひいきより」と言うのである。その狂言の『伽羅先代萩』はに関してのである。 豊原 国周筆。替紋/は四ツ輪。

Ichimura Uzaemon XV shūmei at the Kabukiza Theatre, October 1903明治三十六年十月, 歌舞伎座, 十五代目市村羽左衛門の襲名であった。

At the Dankiku memorial programme, which was held at the Kabukiza Theatre in October 1903, to commemorate the memory of Danjurō and Kikugorō the Kōjō was very emotional and summed up their popularity and success throughout their lives. Uzaemon’s succession to his name at the Kabukiza Theatre at that time was unparalleled, happening as it did in oddly complicated circumstances, and in the afterglow of the careers of Danjūrō and Kikugorō. He subsequently became a hugely successful and popular actor and though in his youth he was considered too awkward to be a Kabuki actor he later developed into one of the best tachiyaku, male role specialists, of the first half of the twentieth century.

According to the Longstreet’s book ‘Yoshiwara: The Pleasure Quarters of Old Tokyo’ Uzaemon also had a reputation as a womaniser and having been rejected by one famous geisha married another called Okoi of the Omuja geisha house in Shimbashi, who was also one of his fans. The marriage was arranged by his fans and admirers through a matchmaker, with the blessing of her former husband, a wealthy stockbroker by the name of Heizo Yajima. The wedding was a gala occasion and Okoi went to live with Uzaemon’s adopted parents. Okoi’s mother-in-law allegedly behaved very badly to her daughter-in-law, reducing her to servitude while Uzaemon, having secured a famous geisha for a wife set off on a lavish philandering spree accruing substantial debts which had to be paid off by Okoi. After two years Okoi asked for and was granted a divorce. She borrowed 1,000 yen and set up her own teahouse, later becoming the lover of Prime Minister Taro Katsura.

芸者お鯉 Geisha Okoi 1880-1948, Uzaemon’s wife

The Azuma Ryū Nihon Buyō School of Dance Revival, of which Uzaemon was the shodai sōkei (head and founder) decided, in collaboration with the actor Ichikawa

Komazō VIII, later Matsumoto Koshirō VII, and the music master Kiyomoto Enjudayū V, to revive Kasane in 1906 at the Shintomiza Theatre. The first great revival at the Kabukiza Theatre was performed in December 1920 with the illustrious Kabuki goruden-combi of Ichimura Uzaemon XV and Onoe Baikō VI in the roles of Yoemon and Kasane. Thanks to this revival, the dance-drama "Iro Moyō Chotto Karimame" became a great item in the current Kabuki repertoire and it is performed regularly by the best Kabuki actors.

Ichimura Uzaemon XV and Onoe Baikō VI in ‘Kasane’, Kabukiza Theatre

十五代目市村羽左衛門, 六代目 尾上 梅幸, ‘ ’かさね , 歌舞伎座

At the peak of their popularity Uzaemon and Baikō performed in Momijigari (Contemplating Maples) at the Shintomiza Theatre in February 1922. After the performance they created this oshiguma or face pressing of make up on silk to celebrate the performance. It was subsequently sent to Kyōtō to be mounted on this kakemono or vertical scroll by the potter artisan Kiyomizu Rokubei V. It is probably the reason why it survived the devastation of the great Earthquake disaster of 1923. Ichimura Takematsu IV played Yamagami, Ichimura Uzaemon XV played Taira no Koremochi and Onoe Baikō VI played Princess Sarashina the witch of Mount Tokaguchi.

Ichimura Takematsu IV played Yamagami, Ichimura Uzaemon XV played Taira no Koremochi and

Onoe Baikō VI played Princess Sarashina the witch of Mount Tokaguchi.

Oshiguma - 押隈, Shintomiza Theatre - 新富座

Then, the Kabukiza Theatre’s repertoire having undergone a thorough review, in April 1907 ‘Kanjinchō – The Subscription List’ was staged with Kōmazō playing the role of Benkei. Togashi was of course played by Uzaemon. Kōmazō, later Matsumoto Koshirō VII, played the role of Benkei for the first time in June 1906 at the Kabukiza Theatre, a role he played at least 1600 times during his career. He and Uzaemon would play opposite each other in Kanjinchō many, many times.

A surviving film clip of a performance of Kanjinchō, or the Subscription List, at the Minamiza Theatre in Kyōtō in 1930 shows the two playing opposite each other in their favourite roles with Ichimura Uzaemon XV playing Togashi, the commander of the barrier guard and Matsumoto Kōshirō VII as Yoshitsune’s ever faithful retainer the Yamabushi warrior monk Benkeihttps://www.youtube.com/watch?v=SnqWFQP5rqE

Minamiza Theatre 南座

Uzaemon remained devoted to his mother Ito, and in 1913 when she lay dying at the Camellia Palace Uzaemon visited her every night. When he left her he called her his ‘okkasan’ a Meiji period term for mum. His mother tenderly called her son ‘botchan’. Apparently Uzaemon forgot to make arrangements in case there was an emergency and wasn’t there when his mother passed away purportedly as a result of an aneurism. In the event a female nurse was close by at the time keeping watch.

On the 14th April 1928 Uzaemon and his wife Oharu, with whom he had finally settled into married life, set sail on the N.Y.K. Taiyō Maru bound for the United States on route to Europe. It had originally been intended for Uzaemon to be accompanied by Baikō but while Baikō was playing a role in "Ibaraki" in the New Year production at the Teigeki Imperial Theatre in 1928 he collapsed on stage after the middle of the performance. Because of this Uzaemon’s wife Oharu went instead and they travelled as a married couple.

Ichimura Uzaemon XV and his wife O-Haru, on the N.Y.K. Taiyō Maru, 14th April 1928

十五代目市村羽左衛門は彼の奥さんとはお春の名前です, 日本郵船会社の大洋丸の上にいます, 昭和年四月十四日。

While on tour they visited Los Angeles, San Francisco, Chicago and New York in the USA and London and Paris in Europe. Whilst in London Uzaemon had a tuxedo tailor made for him and while in Paris at the Louvre and watching the crowds who were looking at the Venus de Milo he remarked, ‘it seems to be the business when a woman’s hands are cut off”. While in Hollywood they met the silent screen actors Charles Murray, Lon Chaney and the Japanese actor Sōjin Kamiyama who was working in Hollywood at the time.

In Hollywood comedy actor Charles Murray exchanges a hat joke (June Shōwa 3 [1928]). Husband and wife meet, from the left, the film actor Sōjin Kamiyama, a lifelong friend of Jun'ichirō Tanizaki, and Lon Chaney (June Shōwa 3 [1928] Hollywood)ハリウッドで 喜劇俳優チャールズ・ムーレーと帽子を交換して戯れる (3 年 6 月), 滞米中の夫妻 左から上山草人 ロン・チャニー (3 年 6 月 ハリウッド)

During the European-American tour Uzaemon was watching the crowds at the Paris Louvre who were looking at the Venus de Milo when he remarked, ‘it seems to be the business when a woman’s hands are cut off”.

Uzaemon reputedly had naturally impressive Japanese Edo manners and a wonderful and charismatic personality and when asked what he could do on stage, he replied, ‘I’m happy not doing anything… …people are going to look at me anyway!’. He was an open hearted genuine Japanese man who more than embraced Edo style sophistication.

Satomi Ton alludes to the boundless charm of this ‘Ichimura style’ on stage and that ‘a pronounced aura drifted around the figure of Uzaemon’.

One day, when the hanamichi lights had gone off Uzaemon remarked to his onnagata partner that he would be good even without the lights and to an astounded and somewhat anxious stage technician that just by getting on with it he would brighten things up. Even without the lights on the hanamichi Uzaemon was able to create an atmosphere; critics remarked that, ‘He doesn’t have to have hanamichi lighting when his white face appears in the pitch darkness’. Uzaemon was admired by many, and even the pre-eminent Ichikawa Danjūrō IX exhibited a grudging admiration for him. He had a great physical appearance, a strong presence on stage and an amazing voice. He was one of the pre-eminent nimaime (handsome refined young male lover role specialist) and sabaki-yaku (villain defeating male role specialist) of his day. A dark complexion, slim yet powerful, with courage and a mature self-confidence, that man’s inner light rose to the surface. Uzaemon was convincingly emotionally engaging. Uzaemon’s other stunning success was the white make up (shiro-nuri); it was commented that his shironuri for the character of Naojirō was beautiful. He played about sixty roles throughout his life, and was absolutely beautiful and his voice captivating. A restlessly stirring voice like that once heard is never forgotten. A clearly resonating voice, pausing, exciting, a voice that was tinged with sorrow, an open and natural voice, a gentle voice, a voice with good command.

He kept on playing young lover roles even in his later years though he never played elderly male characters.

He was a fan of Charlie Chaplin and after having seen Chaplin’s film, ‘City Lights’, in America in 1931 helped Kimura Kinka, a popular playwright of the day, with his Kabuki adaptation of the film called ‘Komori no Yasusan’ (Bat Man Yasu).

十五代 羽左衛門私考 Ichimura Uzaemon XVas Koganosuke Kiyofune 久我之助清舟 (こがのすけきよふね)

from the play Imoseyama Onna Teikin (Imoseyama, an example of womanly virtue) 妹背山婦女庭訓

Onoe Baikō VI was born Jitō Einosuke in Fushimi-chō, Nagoya, Owari Province and it is said that Onoe Chōjirō (Onoe Kikugorō III’s son) was his father. However it is rumoured that he was the illegitimate son of Onoe Kikugorō V and a Nagoya Geisha from a reputable Shinano family and therefore half-brother to Onoe Kikugorō VI. In 1877 he was introduced to Kabuki in a small theatre, Shinmoriza in Nagoya, and in 1882 he started training to be an onnagata and was adopted by Onoe Kikugorō V. In 1891 he celebrated his first shumei at Shintomiza (Tōkyō) and took the name of Onoe Eizaburō V and in March 1903 at a Great Shumei at the Kabukiza he took the name of Onoe Baikō VI playing in Kiyomasa Seichūroku and in the role of Soga Jūrō Sukenari in Kichirei Soga no Ishizue.

Onoe Baikō VI - 六代目 尾上 梅幸

Uzaemon’s duo with Onoe Baikō VI was one of the most famous goruden kombi (Golden Combination of onnagata/tachiyaku) in Kabuki history. The most famous contemporary goruden kombi is the duo Bandō Tamasaburō/Kataoka Nizaemon, affectionately known as Taka-Tama. Uzaemon and Baikō’s affectionate joie de vivre was, it seems, irresistible

In November 1934 Onoe Baikō VI was to have celebrated his shumei. He then intended to announce his retirement with a performance at the Kabukiza Theatre in January 1935 which would have been a memorial celebration on the thirty third anniversary of Onoe Kikugorō V’s death. However he suffered a stroke, collapsed, and was taken to his dressing room and on the 8th November 1934 he passed away. He was buried in Zōshigaya cemetery in Minami-Ikebukuro, Toshima, Tōkyō. For his shini-e or death portrait, Uzaemon inscribed the following poem…

濁り居の火桶に Existence blurred,雫す涙かな in a wooden brazier

可江 ( 印 羽左衛門) It is, alas, raining tearsKakō (Uzaemon)

Afterwards Uzaemon successfully continued to perform in duo with Kataoka Nizaemon XII.

On the 15th February 1945, with a favourable outcome for Japan in the Second World War increasingly uncertain and the air raids on Tōkyō a daily occurrence, it was decided that Uzaemon should be evacuated to Yudanaka Onsen hot springs resort in Nagano Prefecture after an air raid had forced the premature closure of the play Moritsuna Jinya at the Shimbashi Embujo Theatre. He died there on the 6 th May Shōwa 20 (1945) at Yorozuya Onsen’s Shoraiso annex. In the room is a hanging scroll which Uzaemon drew while staying there.

Rumour has it that Uzaemon was accompanied, not by his wife Oharu, but by a Yanagibashi geisha called ‘Yoroshi’ something which Uzaemon’s niece Kimiko Noguchi later denied.

The day before he died Endō Ishun (aka Endō Tameharu), the then Director of the Kabukiza Theatre and Shochiku official, visited him to ask if would be able to return to Tōkyō to perform at the theatre in the following month of June

His funeral was marked as a day of National mourning and the Police were drafted in to control the crowds.

He is interred in Zōshigaya cemetery in Minami-Ikebukuro, Toshima, Tōkyō, next to Onoe Baikō VI, his much-loved onnagata (female role specialist) stage partner.

When, four months later, on the 28th August 1945 a worried Faubion Bowers, accompanying the head of the US Army of Occupation General Douglas McArthur, landed at Atsugi airbase the first question he asked of a waiting Japanese journalist was, ‘Is Ichimura Uzaemon still alive?’

Faubion Bowers -フォービアン・バワーズ

Except for that of their first born daughter Ai the Le Gendre family graves are located in Tsurumi Sōji Ji in Yokohama, adjacent to Tsurumi University.

Uzaemon’s daughter, Fujima Harue, became the second sōkei, or head, of the Azuma Ryū Nihon Buyō School of Dance and became Azuma Tokuho IV, the leader of Azumaza Kabuki troupe.

This photograph taken on the 22 February 1954 shows Mrs Douglas McArthur, her son Arthur and members of the Azuma Za Kabuki troupe at the Century Theatre in New York during a month long run organised by Sol Hurok that began on the 18 th

February. Costumes were by Takashimaya

1954 年二月二十二日にミセズ・ドグラス・マッカーサーと彼女の息子アーサーと『アヅマカブキ』の劇団はセンチュリーの劇場にニューヨークにソル・ヒューロックの月間に間中のツアーに二月十八日からでした.

Japanese actors left to right – Fujima Masaya II, Onoe Kikunojō I and troupe leader Azuma Tokuho IV, daughter of Ichimura Uzaemon XV, of the Azuma Ryū Nihon Buyō School of Dance

皆は... ...日本の名題役者: 左から右迄二代目藤間政弥と一代目尾上菊之丞と座頭の四代目家元吾妻徳穂, 十五代羽左衛門の娘さん,吾妻の流日本舞踊がいました.(インサート: 年上の四代目家元吾妻徳穂います)

Azuma Tokuho IV and her husband Nakamura Tomijūrō IV四代目家元吾妻徳穂, 四代目中村富十郎

Their son Nakamura Tomijūrō V五代目中村富十郎

57

Nakamura Tomijūrō V and his wife the actress Masae Hashizume had a daughter Azuma Tokuya 吾妻徳弥, later Azuma Tokuho II third sōkei of Azuma Ryū.

She, in turn, married Nakamura Kanjaku V 五代目中村翫雀

Their son is Nakamura Kazutarō, the Kabuki actor and Azuma Tokuyō, iemoto or leader, of today’s Azuma Ryū. 中村壱太郎, 吾妻徳陽, 七代目家元, 吾妻流

The legend continues…

Written sources:

Tachibanaya 橘屋http://9326.teacup.com/tachibanaya/bbs/t2/-100

役者の顔The Actor’s Face (Essay)木村荘八 Kimura Shōhachi

「日本演劇考察・羽左衛門物語」‘Nihon Engeki Kōsatsu - Uzaemon Monogatari’ (Japanese Stage Investigation – The Story of Uzaemon) 三宅周太郎著 Miyake Shūtarō

「羽左衛門伝説」‘Uzaemon Densetsu’ (The Legend of Uzaemon )里見敦著 Satomi Ton cho – A book by Satomi Ton

「十五代市村羽左衛門　名優アルバム」‘Jūgo Dai Ichimura Uzaemon Meiyū Arubamu’ (An album of the famous actor Ichimura Uzaemon XV) 小宮暁子 Akiko Komiya

演劇界別冊 Engeki Kai Bessatsu (The World of the Theatre Supplement)

Photographic images published before December 31st 1956, or photographed before 1946 and not published for 10 years thereafter, under jurisdiction of the

Government of Japan, are considered to be public domain according to article 23 of old copyright law of Japan and article 2 of supplemental provision of copyright law of

Japan