KABUKI Returns to London at Sadler's Wells Theatre

Leading Japanese entertainment company Shochiku and globally-recognised arts agency Askonas Holt have announced KABUKI, a triptych of three classic kabuki pieces which will be presented at Sadler's Wells Theatre from 30 - 31 January 2027. This production marks the return of one of Japan's most revered artforms to London after an absence of 17 years, and comes at a time of heightened audience interest in kabuki following the international success of the feature film Kokuho.

Dating from the early 17th century, kabuki is an all-male traditional Japanese theatrical art form, marrying music, dance and acting ('ka 歌'' - song; 'bu 舞' - dance; 'ki 伎' - acting skill). Its vast repertoire ranges from historical pieces that date back hundreds of years to new theatrical experiences. The art form was officially proclaimed a Masterpiece of the Oral and Intangible Heritage of Humanity by UNESCO in 2005.

This production will mark the international stage debuts of  Ichikawa Somegorō VIII and Onoe Tatsunosuke III, two of the most highly anticipated stars of the next generation of kabuki performers. Both Ichikawa Somegorō VIII and Onoe Tatsunosuke III come from a long lineage of renowned and highly respected kabuki performers, with the former making his first stage appearance at the age of 2, and the latter at the age of 3. This  presentation, produced by Shochiku,  is the 11th kabuki production in London and the 8th kabuki production at Sadler's Wells Theatre.

KABUKI will be made up of three dance pieces: Fuji Musume (藤娘) - The Wisteria Maiden; Yuki no Shakkyō (雪の石橋) - The Snowbound Stone Bridge – A Lion Dance; and Meoto Dōjōji (男女道成寺) - A Man and Woman at Dōjōji Temple.

In Fuji Musume (藤娘) - The Wisteria Maiden, performed by Onoe Tatsunosuke, a beautiful maiden in a black lacquered hat, holding a branch of wisteria flowers over her shoulder, stands beneath a great pine tree draped with cascading wisteria. She is the Wisteria Maiden, a familiar figure from Ōtsu-e folk paintings, which were sold as lucky charms to bring about a happy marriage. In dance, she expresses the feelings of a woman in love. Set to lyrics that weave in the Eight Views of Ōmi, she vividly expresses the anguish of a maiden in love with a man who remains indifferent to her feelings. In a delightfully tipsy mood, she dances on before once again placing the wisteria branch upon her shoulder and fading into the gathering dusk, returning to her true form as the wisteria spirit.

In Far Eastern tradition, the shishi is not a true lion, but a kind of mythical creature associated with the Buddhist bodhisattva Monju (Mañjuśrī). This version of Yuki no Shakkyō (雪の石橋) - The Snowbound Stone Bridge - A Lion Dance, performed by Ichikawa Somegorō, closely follows the classical nō play of the same name. The shishi displays his power by shaking his mane vigorously.

The original Musume Dōjōji, which is one of kabuki's most famous dances, is based on the legend of the temple Dōjōji, in which a young maiden transforms into a serpent out of jealousy and destroys the temple bell under which the man she loves is hiding. In that version, the woman changes her costume repeatedly while depicting various kinds of love through dance. In this version, Meoto Dōjōji (男女道成寺) - A Man and Woman at Dōjōji Temple, performed by both Ichikawa Somegorō and Onoe Tatsunosuke, there are two dancers, one of which is eventually revealed to be a man in disguise. The dance reaches its climax when the two reveal their true identities.

Ichikawa Somegorō VIII said, “I am very grateful for the opportunity to convey the power of kabuki to people overseas together with Tatsunosuke, a fellow actor of my generation. Kabuki was born over 400 years ago, and has continued to the present day, absorbing the culture, sensibilities, and values of the people of each era. I believe it is like a mirror that reflects what Japanese people have accumulated over a long period of time. It is very important for people overseas to experience this unique beauty of Japan. At the same time, I also want Japanese people to know more about kabuki. I would be happy if we could not only share kabuki internationally, but also bring something of what we gain from that experience back to Japan.”

Onoe Tatsunosuke III said, “Kabuki is gaining popularity both domestically and internationally due to numerous new kabuki productions and online streaming, but I think there are still many theatregoers who have not yet actually seen it in person. The appeal of the art of kabuki lies in the atmosphere and excitement that can only be experienced live, so we are deeply grateful to have an opportunity to bring this experience overseas. We want to ensure that this growing interest is not simply a passing boom, but something that can be carried forward to the next generation. I look forward to audiences at  Sadler's Wells Theatre experiencing this art that has been passed down from generation to generation.”

Shochiku said: “It is our great pleasure to return to London with a kabuki performance after over a decade. It is a privilege to present Japan's traditional dance heritage at a world-renowned dance venue, with a program showcasing three celebrated classic kabuki dance pieces. Furthermore, this historic production marks the international debut of Somegorō and Tatsunosuke, two of kabuki's most highly anticipated rising stars. We eagerly await sharing the vibrant energy of these performances with audiences.”