National Bunraku Theatre Revives Yoshitsune Senbon Zakura in Rare Full-Length Production

Japan Forward

23-04-2025

Like cherry blossoms in full bloom, Yoshitsune Senbon Zakura (Yoshitsune and the Thousand Cherry Trees) captures the fleeting, noble beauty that has stirred the Japanese soul for centuries. This classic jidaimono (period play), rich with tragic heroes and emotional depth, is being performed at Osaka's National Bunraku Theatre through April 30. It marks the first full run from the opening act in 21 years, offering a rare opportunity to witness the full-scale human drama of this epic work, rather than the usual highlights-only format.
Yoshitsune Senbon Zakura premiered in 1747 as a ningyo joruri , or Bunraku puppet play. Mixing fantasy and historical fiction, it spans five acts and takes nearly 12 hours to perform in full. This staging covers Acts one through four across three parts. In the second act, Tokaiya – Daimotsu no Ura, Benkei restrains Taira no Tomomori (left, played by Tamao Yoshida II) as he challenges Yoshitsune to a duel. Chuō Ward, Osaka City (©Sankei by Akiko Niboshi).
The first hero is Taira no Tomomori, a general of the defeated Heike clan, a powerful samurai family that ruled Japan during the late Heian period (794-1185). Although said to have drowned with the child Emperor Antoku at the Battle of Dan-no-ura, in this retelling, he survives in secret to protect the young emperor.
Disguised as a shipping merchant, Tomomori schemes to assassinate legendary general Minamoto Yoshitsune, now on the run from his brother Yoritomo, Japan's first shogun. Driven by vengeance, Tomomori's tragic pride shines as he ultimately accepts his fate. Tamao Yoshida II, a Living National Treasure, brings power and gravity to the role, embodying the warrior's grandeur and despair.
The second act follows Gonta, a petty criminal in the Yoshino region of Nara. Hoping to earn a reward, Gonta betrays his father's secret protection of the Heike noble Koremori by handing over his wife and child to the enemy, only to reveal, in his dying moments, that he had actually substituted his own family. In the third act, Shi no Ki no Dan, the arrogant and unruly Gonta picks a fight and assaults Kogengo (left), whom he happens to encounter. Chuo Ward, Osaka City (©Sankei by Hirofumi Kakihira).
Performed by Tamasuke Yoshida, Gonta is portrayed as mischievous and selfish — like an overgrown child — which makes his final act of sacrifice all the more tragic.
The final hero in Act 4 is Genkuro, a magical fox who takes the form of Yoshitsune's loyal retainer Sato Tadanobu to recover the Hatsune no Tsuzumi — a drum made from the hides of his fox parents.
His tale of loss moves Yoshitsune, who has known little family himself. The act showcases spectacular Bunraku techniques, including midair "flying" stunts and lightning-fast puppet costume changes. One standout moment comes when Genkuro the fox suddenly leaps out of the tayu's stand — the small stage desk used by the narrator — in a surprise entrance that delights the audience.
Kanjuro Kiritake (another Living National Treasure), Japan's top fox puppeteer, gives Genkuro energetic charm, made even more powerful by the emotionally rich narration of Chitose Takemoto and shamisen player Tomisuke Toyozawa. In the fourth act, Michiyuki Hatsune Tabi, the narrator's kendai (stand for the script) suddenly splits in two, dramatically revealing the appearance of Genkuro the fox (played by Kanjuro Kiritake). Chuo Ward, Osaka City (©Sankei by Hirofumi Kakihira).
In excerpted versions of the play, Minamoto Yoshitsune often fades into the background. But in this complete version, we finally see how central he is — the noble, gentle figure compared to a thousand cherry blossoms in full bloom. His sorrow and the sacrifices of those around him illuminate the deep, tragic consequences of war born from human desire.
As soldiers, scoundrels, women, and youths fall in the wake of conflict, we're reminded not just of their beauty but of the quiet grief that lingers when they're gone.
(Read the article in Japanese .)
Author: Sawa Tanaka, The Sankei Shimbun