Changes

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>

In his second performance of the play, [[1716|three years later]], Danjûrô played Sukeroku in a somewhat gentler manner, incorporating elements of the Kamigata ''[[wagoto]]'' style in his performance. This was the first time that ''wagoto'' and ''aragoto'' elements were combined in the same character. Danjûrô also introduced at this time other elements which would later become quite standard, and even iconic. It was during this performance that he first wore a purple headband and carried as bullseye-patterned umbrella, today two of the most iconic props or costume elements in kabuki. The connection to ''Soga Monogatari'' was added at this time as well.<ref name=blumner/>

In his second performance of the play, [[1716|three years later]], Danjûrô played Sukeroku in a somewhat gentler manner, incorporating elements of the Kamigata ''[[wagoto]]'' style in his performance. This was the first time that ''wagoto'' and ''aragoto'' elements were combined in the same character. Danjûrô also introduced at this time other elements which would later become quite standard, and even iconic. It was during this performance that he first wore a purple headband and carried as bullseye-patterned umbrella, today two of the most iconic props or costume elements in kabuki.<ref name=blumner/> Purple dye was among the most expensive of colors, and had previously been restricted almost exclusively to shogunal use.<ref name=kabuki21.com> The connection to ''Soga Monogatari'' was added at this time as well.<ref name=blumner/>

Many variations on the play were later developed and performed throughout the Edo period, and down into more modern times. The famous ''[[onnagata]]'' [[Segawa Kikunojo II|Segawa Kikunojô]] appeared in the premiere of ''Onna Sukeroku'' ("Woman Sukeroku") at the [[Ichimura-za]] in [[1764]], a variation in which a female Sukeroku is not the man Soga Gorô in disguise, but rather [[Oiso no Tora]], a courtesan who is the lover of one or the other of the two Soga brothers in many of the old stories.<ref name=blumner/> Three theatres were staging versions of the Sukeroku story at this time; such competitions would occur in later years as well, with each theatre using a different type, or school, of music, and different interpretations of the characters and story. As is the case with most kabuki plays, it would eventually settle into a single more-or-less standard form, though never becoming wholly static.<ref name=iezzi>Iezzi, Julie. "Sounding Out Kabuki: Music Behind the Scenes." in ''101 Years of Kabuki in Hawai'i''. pp45-48.</ref>

Many variations on the play were later developed and performed throughout the Edo period, and down into more modern times. The famous ''[[onnagata]]'' [[Segawa Kikunojo II|Segawa Kikunojô]] appeared in the premiere of ''Onna Sukeroku'' ("Woman Sukeroku") at the [[Ichimura-za]] in [[1764]], a variation in which a female Sukeroku is not the man Soga Gorô in disguise, but rather [[Oiso no Tora]], a courtesan who is the lover of one or the other of the two Soga brothers in many of the old stories.<ref name=blumner/> Three theatres were staging versions of the Sukeroku story at this time; such competitions would occur in later years as well, with each theatre using a different type, or school, of music, and different interpretations of the characters and story. As is the case with most kabuki plays, it would eventually settle into a single more-or-less standard form, though never becoming wholly static.<ref name=iezzi>Iezzi, Julie. "Sounding Out Kabuki: Music Behind the Scenes." in ''101 Years of Kabuki in Hawai'i''. pp45-48.</ref>