Kyoto performance reviews

Fear of flailing?: Returning to regular blogposting August 2022 Much to my surprise, I see that I have been on hiatus for over two years. Rather than wait for a beloved sensei or mentor to pass away, I thought I would return to my initial impetus for starting this blog. I go to a lot of performances: concerts, dance, theatre, and especially kyogen. Before Covid, this would include occasional buffet feasts in San Francisco London, Bali, and New York. Since Covid this has mainly been online, and limited to Kyoto. I doubt if there is anyone else in the world with the same tastes as I: noh as a matinee, E9 little theatre experiment in the evening, research showing the next day. But although I take notes, keep programs, and file it away in my memory, I rarely commit to writing down critiques, much less posting it on a public blog. Why? I reflect here on my background in theatre reviewing, consider its technique and utility, then once again plunge back into the critical appraisals that may,

July 9th 2022    Cutting Edge 狂言: God & Demon Shigeyama kyogen youth fooling around with new kyogen and sketch comedy (performances ongoing in August ) https://kyotokyogen.com/schedule/0820cek/ Kyogen programs are usually one-time only events. Three or four plays are put together according to seasonal appropriateness and variety, as well as technical ability to change costumes and casting balance. While single kyogen are the requisite filler between the somber noh, all-kyogen programs have been an increasing part of the post-War theatrical scene. Annual family shows spotlight brothers or fathers and sons, or celebrate receiving an award or honoring an ancestor’s death anniversary. These well-publicized programs often feature rare, large-cast plays, and newly created plays that  stretch the abilities of the extended family members. Held on noh stages but also civic and prefectural halls, their leaflet designs have recently features colorful montages of photos of previous shows, prom