Changes

Whereas in the Kamigata plays Sukeroku was often a merchant, Danjûrô made him a samurai, giving him a black kimono, red-yellow headband, and a pattern of black [[kumadori|face makeup]] (today, chiefly red on a white foundation). Danjûrô, 26 years old at the time, performed the role in the distinctive ''[[aragoto]]'' fashion pioneered by [[Ichikawa Danjuro I|his father]]. Danjûrô also added a number of characters who are now standard elements of the plot, including the fool Monbei, Sukeroku's brother Shinbei (secretly Soga Jûrô), their mother Manko, and the villain Ikyû, many of whom were based on real figures. Shinbei and the Noodle Vendor served initially as onstage advertisements for specific neighborhood merchants, as was a common practice in kabuki at the time, Shinbei being a reference to the ''asagao [[senbei]]'' ("Morning Glory Rice Crackers") sold by [[Fujiya Seizaemon]]. The noodle vendor, similarly, was introduced by [[Ichikawa Danjuro III|Danjûrô III]] and named Ichikawa-ya, after an actual local noodle vendor; when the real-life noodle shop changed its name to Fukuyama, [[Ichikawa Danjuro VII|Danjûrô VII]] changed the character's name to Fukuyama as well. Ikyû, meanwhile, was based on the gangster [[Fukami Juzaemon|Fukami Jûzaemon]], also known as "Bearded Jikyû," who had in 1713 or so, at the time Danjûrô II was first adapting the story, recently returned from exile and who was thus a topic of conversation.<ref name=blumner/>

Whereas in the Kamigata plays Sukeroku was often a merchant, Danjûrô made him a samurai, giving him a black kimono, red-yellow headband, and a pattern of black [[kumadori|face makeup]] (today, chiefly red on a white foundation). Danjûrô, 26 years old at the time, performed the role in the distinctive ''[[aragoto]]'' fashion pioneered by [[Ichikawa Danjuro I|his father]]. Danjûrô also added a number of characters who are now standard elements of the plot, including the fool Monbei, Sukeroku's brother Shinbei (secretly Soga Jûrô), their mother Manko, and the villain Ikyû, many of whom were based on real figures. Shinbei and the Noodle Vendor served initially as onstage advertisements for specific neighborhood merchants, as was a common practice in kabuki at the time, Shinbei being a reference to the ''asagao [[senbei]]'' ("Morning Glory Rice Crackers") sold by [[Fujiya Seizaemon]]. The noodle vendor, similarly, was introduced by [[Ichikawa Danjuro III|Danjûrô III]] and named Ichikawa-ya, after an actual local noodle vendor; when the real-life noodle shop changed its name to Fukuyama, [[Ichikawa Danjuro VII|Danjûrô VII]] changed the character's name to Fukuyama as well. Ikyû, meanwhile, was based on the gangster [[Fukami Juzaemon|Fukami Jûzaemon]], also known as "Bearded Jikyû," who had in 1713 or so, at the time Danjûrô II was first adapting the story, recently returned from exile and who was thus a topic of conversation.<ref name=blumner/>

The close ties between the theatre and the broader community extended beyond such onstage references to real merchants. The play would often be performed with the ''hanamichi'' lined with real, blooming cherry trees donated to the theatre by the teahouses of the Yoshiwara,<ref name=spectacle>Omoto, Lisa Ann M. and Kathy Welch. "Kabuki Spectacle." in ''101 Years of Kabuki in Hawai'i''. pp50-54.</ref> and actors playing the lead roles would often pay a visit to the Yoshiwara and offer gifts to the teahouses, receiving in exchange umbrellas, ''[[kiseru]]'', lanterns, and other objects for use onstage and for distribution or sale to audience members following the production. The actors' visit was a fairly major affair involving a procession of many actors, and involved various traditions or rituals performed as part of the visit and of the offering of gifts; courtesans and others directly associated with the teahouses would also attend the performances at the kabuki theatres, and performed various customs even as audience members. When the actor playing Sukeroku addressed the audience as himself (the actor) in the role of the stage manager, the courtesans would clap along with him. This addressing of the audience, incidentally, is not unique to ''Sukeroku'', but the play is distinctive in incorporating more improvisation, and more elements of the actor shedding the character and being himself, the actor, for certain parts of the performance.<ref>Maeshiba, Naoko. "About the Play." "Sukeroku: The Flower of Edo." Theater Program. Kennedy Theatre, University of Hawaii at Manoa, March 1995. p9.</ref>

The close ties between the theatre and the broader community extended beyond such onstage references to real merchants. The play would often be performed with the ''hanamichi'' lined with real, blooming cherry trees donated to the theatre by the teahouses of the Yoshiwara,<ref name=spectacle>Omoto, Lisa Ann M. and Kathy Welch. "Kabuki Spectacle." in ''101 Years of Kabuki in Hawai'i''. pp50-54.</ref> and actors playing the lead roles would often pay a visit to the Yoshiwara and offer gifts to the teahouses, receiving in exchange umbrellas, ''[[kiseru]]'', lanterns, and other objects for use onstage and for distribution or sale to audience members following the production. The actors' visit was a fairly major affair involving a procession of many actors, and involved various traditions or rituals performed as part of the visit and of the offering of gifts; courtesans and others directly associated with the teahouses would also attend the performances at the kabuki theatres, and performed various customs even as audience members. When the actor playing Sukeroku addressed the audience as himself (the actor) in the role of the stage manager, the courtesans would clap along with him. This addressing of the audience, incidentally, is not unique to ''Sukeroku'', but the play is distinctive in incorporating more improvisation, and more elements of the actor shedding the character and being himself, the actor, for certain parts of the performance.<ref>Maeshiba, Naoko. "About the Play." "Sukeroku: The Flower of Edo." Theater Program. Kennedy Theatre, University of Hawaii at Manoa, March 1995. p9.</ref>