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Yomiuri Shimbun

Stars of Kabuki Adaptation of Online Game ‘Touken Ranbu' Share Thoughts About Their Newest Production

Touken Ranbu: Azuma Kagami Yuki no Midare ('Touken Ranbu: Disturbance in Snow as Described in Azuma Kagami'), a kabuki adaptation of the hugely popular online game 'Touken Ranbu Online,' which depicts the battles of Touken Danshi (historical Japanese swords in the form of young men), has opened at Shinbashi Enbujo Theatre in Tokyo's Higashi-Ginza district. This is the second kabuki adaptation after the first production in 2023, which was well-received. The story of the online game is that Touken Danshi are played until they grow into warriors who fight to protect history. Spirits that dwell in Japanese swords transform into the handsome young men as warriors and they fight a history retrograding force which aims to change Japanese history. The characters, which have unique personalities, have become highly popular and the storylines have also been adapted into musicals and first kabuki adaptation, titled 'Touken Ranbu: Tsuki no Tsurugi Enishi no Kiri no Ha' ('Touken Ranbu: Crescent Moon Sword associated with Paulownia') was planned and directed by Onoe Matsuya, who played the main character, Mikazuki Munechika, who is a personification of the sword of the same name. This work was themed on the Eiroku incident of 1565, in which Ashikaga Yoshiteru, a shogun of the Muromachi shogunate who owned the sword, was assassinated. The performance featured one person playing two different roles. Some of the music was in gidayu style, and the koto was also used. The performance impressed not only fans of the game, but also kabuki enthusiasts. The new kabuki adaptation is set in the Kamakura period (late 12th century to 1333). Based on the historical chronicle 'Azuma Kagami,' the story revolves around the assassination of the third shogun of the Kamakura shogunate, Minamoto no Sanetomo, at Tsurugaoka Hachimangu Shrine on a snowy day. In the midst of the chaos in which the plans of the Kamakura shogunate's central officials and senior vassals become intertwined, the grudges of those who lost their lives in the war are manifested. Matsuya is both directing and performing the roles of Mikazuki Munechika and his powerful enemy, Rasetsu Mijin. He is confident that Rasetsu Mijin has the potential to be a magnificent character, with an eye toward more productions in the future. Nakamura Kasho, who apparently made a direct appeal to Matsuya to join the production, plays the dual roles of Mutsu no Kami Yoshiyuki and Minamoto no Sanetomo. Nakamura Kangyoku reprises his role from the previous play, Higekiri, a character who is derived from a famous sword of the Genji clan. Nakamura Takanosuke, Kamimura Kichitaro and Kawai Yukinojo also reprise their roles as Touken Danshi. Nakamura Shido and Onoe Sakon have newly joined the cast. Ahead of the opening of the second kabuki adaptation, The Yomiuri Shimbun spoke to cast members Onoe Matsuya, Nakamura Kasho and Nakamura Kangyoku about the appeal of the kabuki play. Audience went wild The Yomiuri Shimbun: This is the second adaptation due to the positive reception of the previous play. Higekiri and Hizamaru, which are said to be 'brother swords,' have ties to the Genji clan, right? Matsuya: During the curtain call photo time of the first production, there were many people in the audience holding stuffed toys of Higekiri and Hizamaru so I could sense how popular the characters are. When Higekiri (portrayed by Kangyoku) simply said his signature phrase, 'Good boy, good boy,' there were tremendous cheers. Though the first production focused on Mikazuki Munechika and Ashikaga Yoshiteru, I would like to see various actors play the main roles from now on. Kangyoku: I think there were many people who were watching a kabuki performance for the first time because they like the 'Touken Ranbu' game. While the audience was quietly and concentratedly watching a scene, just one phrase characterizing Higekiri made the audience murmur. In kabuki, members of the audience can't help but laugh even if they know the next line. A 'pattern' of communication between the audience and actors was seamlessly formed. Yomiuri: Kasho, you joined the series from this production. Kasho: I was jealous every time they talked about the Touken Ranbu series. I directly asked Matsuya to let me join. Matsuya: During the New Year kabuki in Asakusa last January, he said to me, 'Please put me in the next production.' Kasho: As I graduated from the stages in Asakusa [which are mainly for young kabuki actors], I wanted to perform in something directed by Matsuya, as he has always guided me forward. Matsuya: I wanted to increase the number of actors who play Touken Danshi roles, so I thought I should not allow him to escape and decided quickly. Kasho: To understand the world of 'Touken Ranbu' more deeply, I began playing the game and watching the anime. There are collectible stickers that come with sweets, including one of Mutsu no Kami, who I portray. There are 35 total stickers and Mutsu no Kami is not so rare, but no matter how many sweets I bought, I couldn't find it. I finally found him around the 38th purchase. Kangyoku: You really had to work for it. Opinions exchanged for a fresh play Yomiuri: How will this adaptation be staged? Matsuya: I feel that the general direction of the play can be established without much trouble. However, there are some things that you don't know until the actors are in the role. When the actors do something that I had not expected, I sometimes discover that it is better to do it that way. Kangyoku: It has been suggested to me to try methods which I usually do not use and that surprise me. It is very fresh. In the first drama, I played the role of a princess who falls in love with Mikazuki Munechika, in addition to the role of Higekiri. In the world of Touken Ranbu, I did not imagine there could be love affairs with Touken Danshi, but it was an experiment which was possible because it is kabuki. Matsuya: I always tell them, 'I want to be told if you think something or have ideas.' Trying out different things will broaden our ranges as actors, don't you think? Yomiuri: Kasho, you directed your first [non-kabuki] play, 'Matsu to One,' which was performed at the Noto Engekido theater in March. Kasho: Even when I came up with ideas, more often than not they didn't work out … It was a big shock when I wasn't able to make my ideas a reality, because that was something I wasn't used to. But gradually I've gotten used to it. Yomiuri: What are the highlights of this new adaptation of Touken Ranbu that are unique to kabuki? Kangyoku: Stagecraft techniques originally created for kabuki are used skillfully. I think it will be a production that will make people proud to have seen kabuki when they see it. Matsuya: There are Touken Danshi that can only be seen in this kabuki. Kabuki also incorporates music and dance within the play. I would like to bring out that underlying power and generosity. * * * Shows are already ongoing and will be held at Shinbashi Enbujo Theatre until July 27. After that, they will be held at Hakataza Theater in Fukuoka from Aug. 5 to 11, and at Minamiza Theatre in Kyoto from Aug. 15 to 26.