Meet a Professional: Simon, the Butler of Kabukiza Theatre (3/4)

Meeting the Most Dynamic Art in Japan

The first person related to Kabuki Simon met was Bando Tamasaburo, one of the most famous actors throughout the world. Actors and directors of Kabukiza were often staying at Hilton Nagoya for a performance tour, and during the one month stay Simon served them as Hilton Butler. “I was just surprised of how thorough Tamasaburo was as an artist. Hotel butlers get to see many VIPs, but he was genuine.” Nonetheless, Simon wasn’t interested in Kabuki at all in the beginning. The Kabuki actors came to stay at Hilton once in a while, every time for more than a month, and Simon became very close with them. “They invited me to see their performance at Kabukiza theatre, and I gradually became interested in Kabuki”. It took three years for Simon to decide that he was fond enough of this new world to change career and work at Kabukiza theatre. It was the relationship with the actors and staffs of Kabuki that moved him into this very Japanese world.

“Now I just love this art. Kabuki is an entertainment that started from the lower class, which is very unusual, since other traditional theatre arts of the world started from the upper class with the ruler as patron. Think of operas, ballet or Japanese NO. We don’t have sponsors and the customers are supporting our theatre. Kabuki will die if we lose our audiences. This is why Kabuki is so dynamic, so vital.” This good tension with the audience is the strength of Kabuki. So what else is attractive about Kabuki? “Kabuki is a living art. Other traditional Japanese art like NO or BUNRAKU are trying to conserve the traditional way, but Kabuki is still evolving. We perform traditional numbers too, but many new scripts come out. Actors are proud that they are creating a cutting edge art. Did you know that there are no stage directors for Kabuki? Actors discuss their own acting and stage settings, and make new KATA, meaning acting formats. It is all made from discussion. And the other strength of Kabuki is the fans. Audiences have been supporting Kabuki for generations, and are proud that they are fostering Kabuki.” This dynamism of culture, the beauty of reconstruction starting 400 years ago, is one expression of Japanese way of living. Of course there are many “Japanese” rules that hinder his challenges. Shochiku, the owner of the theatre is an old company, unwilling to change and rather stiff as organization, but Simon is now acting as a catalyst to bring in a new wind. The relationship with the actors and customers is his only-one value.

“After all these years, at last I know I am both Japanese and English. Japan, after all, brought me up to who I am. I know the good and dark parts of Japan, and I think it is my mission to communicate the importance of respecting culture from a worldwide viewpoint.” Simon is now planning to manage a non-profit children’s Kabuki theatre company using his private time. All our best to Simon, the butler of Japanese culture!

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