The Clio messenger., 1916-12-08

- + THE two principal theaters
of TokyO-the Imperial and
the more Japanese Kabukiza
the former is, as build
ing and in the auditorium absolute
ly European in style and modelled
avowedly after the Vienna opera
house, at all events in front, and is as
clean as a hospital behind the scenes
and in the dressing rooms, as was re-
marked by Tokyo university profess
sor who accompanied me, writes Percy
Burton in the Boston Transcript.
There l was introduced to the star
then playing, Kikugoro, scion of the
atrical stock, actor with pedigree as
distinguished as the Drews or the Ir-
wings, and who welcomed me as graci-
ously as either might have done and
received my compliments paid him
through the Interpretation of the i'm
presario with a modesty worthy Of
Robertson himself. Covering
his breast, which he revealed without
shame on the stage, he bowed with
that delightful self-depreciation and
a characteristic of the educated and
ever-deferent japanese.
I was disappointed at the first visit
had paid to the Imperial theater in
Tokyo by seeing a very Indifferent
German picture play, the only novelty
being the lecturer or interpreter, who
preceded or followed every action by
a recitative, as is the rule both In the
movies or shakes" and drama alike,
for the Japanese are accustomed to
Greek chorus from time immemorial.
Revolving Stage Used for Ages.
1t may be news to many that the re-
volving stage has been in use with
So has the "hanamicho" or "fower
path" as the runway is called, and
rarely seen here except in a musical
play, though it is a necessary adjunct
of almost every drama in Japan. The
performances have been getting COM
mendably shorter Of recent years and
now usually start at 8 80 in the after
noon and end between IL and mid
night, most of the natives taking their
food and children with them, or get
ting what nourishment they need be-
tween the acts Ga restaurant being a
necessary adjunct to the auditOrium) /,
the rising generation getting their own
direct from their mothers breast dur
ing the action of the play.
Nor does the scenery leave much
If anything to be desired, both interior
and exterior scenes being on realistic
lines and wonderfully well designed,
and executed. One, in fact, of bam-
boo grove, with rushes, waving and
whistling In the wind, and with flow
ing water, 1 have not seen excelled.
Sometimes, 1t is true, q carpenter COM
ing on with a hammer will destroy
the illusion of q scene If it Is not quite
finished when the circular stage re-
wolves. 1t is difficult also for an oc-
cidental ever to become quite accus-
toned to the supposedly invisible
property man." who, like little Jack
Horner, stands with his back to the
audience until his presence Is required
on the scene to provide an essential
detail or regulate the folds of the hero
or heroine's dress, after which he re-
lapses into his former state of "in-
visibility"
Long Bill Is Offered.
The japanese audience expects full
value for its money, for a little goes
a long way with the native, and usu-
ally four, five or six plays of varying
length and style are performed on q
single afternoon and evening, drama
being interspersed with farce and
musical comedy or dancing, and liberal
entr'actes provided SO that the visitor
can eat, frequent the booths and buy
postcards or fans with pictures Of his
or her favorite actors, while In the
typically native theaters there Is q
regular bazaar or series Of shops and
stalls where gewgaws of every kind
can be bought. Usually 1t is in the
topmost gallery. Smoking is allowed
all over the theater by men and WON
en- alike In the fairly spacious and
numerous boxes which have no At
tings except mats, smoking pot with
smoldering ashes and an occasional
cushion, generally brought by the visi
tors, who leave their shoes at the dool
.aod recover them as they go out, theiI
hats. canes, parasols, or umbrellas be