japanamerica

PIPPIN in Tokyo Tokyo Weekender True to its 2013 source, the Japanese production of the Tony-winning Broadway musical revival of “Pippin” turns the physicality up to 11. Most of the choreography is acrobatic, with actors contorting themselves into seemingly impossible positions, and some is aggressively sensual. Yet on a stage teeming with athletic young bodies in skintight costumes, the one that draws the most enthusiastic applause belongs to 73-year-old Mie Nakao. The veteran actress’s star turn as Berthe (a role she rotates with Beverly Maeda), grandmother of the eponymous hero (played with idol-boy earnestness by Japanese-Spanish TV star and singer, Yu Shirota), comes during her solo performance of “No Time At All,” a song preaching pleasure at all costs. After the fourth chorus, Nakao suddenly doffs her dowdy gown and shawl to reveal bared shoulders and legs tucked into a colorful corset. She ascends on a trapeze with the aid of a shirtless hunk, gripping the ro...

When Japan strikes the right chord The Japan Times American composer, arranger and violinist Chad Cannon’s first encounter with Japan came via a Nintendo video game called Ninja Gaiden, which he and his fellow childhood gamers in Salt Lake City, Utah, mispronounced as “Ninja Gayden.” Later, an older sister, also a musician, would return from a tour of Japan bearing a gift shop special: a Hokkaido-shaped clock that he hung on his bedroom wall. Now 33, Cannon is an accomplished artist immersed in Japanese culture. He has toured with the renowned violinist Midori Goto, and performed solo concerts in schools and evacuation centers throughout the devastated Tohoku region after the March 11, 2011 disasters. In 2016, he composed the original score for the award-winning Hiroshima documentary, “Paper Lanterns,” whose recording features shakuhachi flute player Kojiro Umezaki and vocalist/lyricist Mai Fujisawa. Fujisawa’s father, veteran composer and conductor Joe Hisaishi, bes...

On Pokemon for NPR

New 'Ultraman' anime is a family affair The Japan Times I first met anime director and mechanical designer Shinji Aramaki in Tokyo 12 years ago. He had just completed “Appleseed: Ex Machina,” the second in a trio of epic CG-animated films based on Masamune Shirow’s four-volume 1985 manga. “Ex Machina” was a global collaboration: co-produced by Hong Kong/Hollywood director John Woo, costumed by Italy’s Miuccia Prada and scored by Yellow Magic Orchestra’s Haruomi Hosono. Since then, Aramaki has become anime’s go-to guy for Japanese franchise reboots and sequels targeting international markets. As the nation’s domestic audience ages and its youth population shrinks, producers are scrambling to dust off older titles that might resonate both at home and abroad. That has them going to Aramaki a lot. Now 58 and the father of two adult daughters, he is currently working alongside screenwriter/director Kenji Kamiyama on anime adaptations of 1989’s “Ghost in the Sh...

Virgin territory: why the Japanese are turning their backs on sex The Guardian Young people in Japan – particularly men – are shunning physical love, and they’re not the only ones The grounds of Tokyo’s Yoyogi Park have been colonised by beautiful youth: women and men beneath the cherry blossoms surrounded by bottles of wine, sake and shochu, cases of beer and plastic bags stuffed with finger foods – drinking, playing games and sharing smartphone screens as the buds bloom and fall. Hanami (flower-viewing) parties are a centuries-old rite of spring, a national symbol of life’s beauty and brevity. But as I walk by them this month, I can’t help but wonder if any of the pink-faced revellers are hooking up, or even care enough to try. “Sexless Japan” is now a reliable media meme. Bolstered by a plummeting birth rate and an ageing population (leading to dire predictions of a future Japan devoid of Japanese), this portrait of the nation’s celibate society has been further enhanc...

Writers recall their initiation to Japanese literature via Donald Keene   The Japan Times Roland Kelts, author: Bookforum asked me to review Donald Keene’s memoirs , “Chronicles of My Life: An American in the Heart of Japan.” I said yes and winced. Keene was in his 80s at the time and had a lot of life to remember. His book would be massive. But then he, too, was vast: a bridge from my America to my Japanese mother’s land and literature. Also, a graduate of and professor emeritus at my alma mater, Columbia University, whose Center of Japanese Culture bears his name. A slim package arrived: 200 pages. In one chapter, Keene jet-sets around Europe, lobbying for Mishima’s Nobel, when his mother falls ill in New York. He arrives at her bedside too late. She can no longer speak. One cannot live and love in two worlds at once, he observes. The chapter closes so softly I had to put the book down and stare at the wall, shaken. Keene did what Kafka asks of writers: Ax the fr...