Nakamura Kichiemon II

2.1. Birth and Family Background

Nakamura Kichiemon II was born Tatsujirō Namino (originally Hisanobu Fujima) on May 22, 1944, in Kōjimachi, Chiyoda, Tokyo. He was the second son of Matsumoto Hakuō I, who was then known as Ichikawa Somegorō V (later Matsumoto Kōshirō VIII). His elder brother is Matsumoto Hakuō II, then known as Matsumoto Kōshirō IX. His mother, Seiko Fujima, was the only daughter of Nakamura Kichiemon I, who was his maternal grandfather. In the conservative world of Kabuki, stage names are traditionally passed down from father to son, signifying accomplishment. Nakamura Kichiemon I, reportedly "furious" that his only child was a daughter (as actresses were not part of Kabuki tradition, preventing her from inheriting his name), treated her like a boy during her childhood. To honor her father's wishes, Seiko promised to have at least two sons: one to carry her husband's traditions, and the other to inherit her father's name. She fulfilled this promise by arranging for Kichiemon II to be legally adopted by his grandfather, a rare occurrence as most Kabuki adoptions are formal.

The family's Yagō (house name) is "Harimaya." Their traditional crest is the ageha-no-chō butterfly, associated with the Taira clan.

Their alternate family crest is the Murayama Katabami.

2.2. Childhood and Education

Nakamura Kichiemon II's early life was marked by both innocence and an early exposure to the disciplined world of Kabuki. In March 1945, his family, including his parents, elder brother, and wet nurse Take Murasugi, evacuated to Nikkō to escape the air raids during World War II. He narrowly survived a streetcar accident there, thanks to his wet nurse. After the war, in October, his burned-down home in Ushigome Ward (present-day Shinjuku) led the family to relocate to Kugayama, Tokyo. As a child, he was mischievous; when his five-year-old brother was bullied, he would retaliate, dragging a garden broom to seek revenge. After moving to Shibuya in 1946, he started attending Shibuya Ward Tokiwamatsu Elementary School in 1951, later transferring to Gyosei Elementary School in Chiyoda Ward in 1952.

His training in traditional arts began at a very young age. From the age of three, he studied Japanese traditional dance under Sachiko Matsumoto of the Matsumoto-ryū and Rokudaime Fujima Kanjūrō. By fourth grade, he was learning Izumi-ryū Kyōgen from Kitaro Wada. In junior high, he began studying Gidayū-bushi under Kosen Takemoto. He also received vocal training from composer Gen'ichi Hanma during his university years. He attended Waseda University, studying French Literature, though he later dropped out. His childhood was not without challenges; he noted a sense of loneliness in his autobiography, often observing his brother playing alone from a distance. His grandfather, Nakamura Kichiemon I, while doting on him, was also a strict teacher in Kabuki, often reprimanding the young Mannosuke for his mischievousness. During summer holidays in 1953, visiting his father in Kyoto, he was scolded for running barefoot in a geisha house garden and engaging in swordplay with a geisha using rolled-up newspapers.

2.3. Early Career and Training

Nakamura Kichiemon II made his first stage appearance at the age of four in June 1948, taking the name Nakamura Mannosuke at the Tokyo Gekijo. This name was chosen in honor of his ancestor, Yorozuya Kichiemon. The following year, his performance as Kaidōmaru in Yamamba earned him the Mainichi Drama Award for Special Acting, marking him as a child prodigy. During this period, he gained popularity as part of "Jidai Mono Kabuki" (Teenage Kabuki), alongside Ichikawa Danko (later Ichikawa En'ō II) and his brother Ichikawa Somegorō. In 1949, he performed in the succession ceremony for his father, then Ichikawa Somegorō VIII.

A pivotal moment in his career came in 1954 with the death of his grandfather, Nakamura Kichiemon I. This event solidified his resolve to become the successor of the Harimaya lineage. In 1961, he, his father (Matsumoto Kōshirō VIII), and his brother (Ichikawa Somegorō VI) transferred from Shochiku to the Toho theatre company. While at Toho, he engaged in various theatrical genres beyond Kabuki, including modern plays and musicals. In May 1966, Toho featured Mannosuke in a starring role in "Red and Black" at the Geijutsuza, a contemporary play based on Stendhal's novel, for which he dyed his hair red and got a perm. This was his first "red-haired" role, and he even traveled to France for research. He once contracted mumps during a performance, reaching a fever of 102.2 °F ^{(39 °C)}, and famously stated he felt like he was "walking on clouds."

In October 1966, at the age of 22, he formally assumed the prestigious stage name Nakamura Kichiemon II at the grand opening of the newly renovated Imperial Theater. At this time, his legal name was also changed to Tatsujirō Namino, the same as his grandfather. Around this time, a newspaper comparison famously likened his brother Ichikawa Somegorō to Shigeo Nagashima and himself to Sadaharu Oh, reflecting their respective popularities in the theatrical world. His performances in modern plays, even after taking on the Kichiemon name, were notable. Theatre critic Koji Toita praised his naturalness in modern roles, attributing it to his lack of pretense and his generation's boldness, remarking that he ultimately played modern roles as a Kabuki actor, retaining the essence of sewamono (commoner plays) in his characterizations.

From early 1969 for two and a half years, he maintained a relentless schedule with no days off, leading to severe fatigue. On April 30, 1971, he was involved in a rear-end collision on the Meishin Expressway while traveling with his parents to a funeral. Despite performing fiercely in Matsuōmaru the next day, he suffered from whiplash and severe mental strain. During the Imperial Theater's "Furin Kazan" run, which boasted no microphones, he performed twice daily for 40 consecutive days, changing costumes 16 times per show. He became so physically and mentally exhausted that he could barely eat and collapsed twice during performances. In July 1971, a doctor ordered absolute rest due to chronic bronchitis, bronchiolitis, and wandering kidney, forcing him to withdraw from the play "Boeing Boeing." He was initially expected to recover in two months but required six months of recuperation.

2.4. Main Career Period

In 1974, driven by a desire to "study more classical Kabuki" as the successor to Kichiemon, he made the significant decision to return to Shochiku, leaving his father and brother at Toho. He likened this difficult decision to Kumagai's resolve to kill his own child, acknowledging the immense courage it took to return to the Kabuki world after having left. In 1975, he married Chisa, a childhood friend, at the Hotel Okura in Tokyo, proposing with a makeshift engagement ring made from a Kent cigarette wrapper in Karuizawa.

Around July 1976, during a tour in Iizuka City, Fukuoka Prefecture, he visited the Kaho Gekijo after hearing stories about it from his father. Despite the theater facing demolition for a parking lot due to financial difficulties, he was deeply moved by its perfection as a playhouse, especially after walking the hanamichi and testing his voice on stage. This visit would later be instrumental in the theater's revival.

The early 1980s proved to be a challenging time for Nakamura Kichiemon II. His adoptive father, Matsumoto Hakuō I, passed away in January 1982. For about three years following this, he suffered immense anguish, even contemplating quitting Kabuki, admitting he was so distressed that he felt like he had "grasped a gas pipe." However, his dedication persisted. In October 1982, he performed Kanjinchō as Benkei, with his brother as Togashi, at Waseda University's Ōkuma Auditorium for its centennial celebration, marking the first Kabuki performance in that venue. In July 1984, he appeared on the TBS talk show "Subarashiki Nakama" with Sawamura Tōjūrō II and Nakamura Kankurō XVIII. The show was filmed at the then-forgotten Konpira Grand Theater, and the three actors' admiration for the playhouse became a catalyst for its eventual revival. In 1993, he was recognized as the number one "favorite actor" for two consecutive years in the "Top 10 Favorite Actors" ranking by the Tokyo Citizens' Theater.

In 2011, while hospitalized for gallstone surgery, he received the news of his designation as a Living National Treasure. In July 2013, he felt internal abnormalities during a tour, and in August, developed herpes on his throat. Although both conditions resolved, he suffered from dysgeusia as a side effect. He lost 22 lb ^{(10 kg)} as he struggled to eat, subsisting on intravenous fluids, chilled sweet red bean soup, and oatmeal with honey and milk. He described the period as so agonizing that he wished to die, but he eventually recovered and was able to enjoy his favorite eel again. In February 2013, his youngest daughter (fourth daughter) married Onoue Kikunosuke V, and their first son was born in November of the same year. In May 2019, his grandson made his debut as Onoue Ushinosuke VII, allowing Kichiemon II to perform with his grandson on stage.

In March 2020, due to the COVID-19 pandemic, the Kabuki-za's March performance was postponed and then canceled, leading him to perform in Shin Usuyuki Monogatari for an audience-free live stream. From April, he stayed home for self-isolation, painting and organizing his notes for his grandson. In his calendar, he wrote in July, "I want to go to a hot spring to recharge. Even if I can't physically, I want to live for another ten years at least for my spirit. It's the first time I've ever wanted to live." In August, he filmed his self-written and self-performed play Sumamura at the Kanze Noh Theater for online distribution. He also returned to the Kabuki-za for the September Shūzan-sai festival, writing in his calendar, "Shūzan-sai, do your best. Focus on moving people's hearts. Don't think about anything else, trust that others will handle it." In October, he underwent prostate cancer surgery, and the subsequent radiation therapy caused significant physical decline, leading to difficulty speaking loudly and standing up. Despite these challenges, he expressed his desire to perform Moritsuna Jin'ya with his grandson at the next Shūzan-sai in a December 2020 radio interview. However, his health continued to decline in early 2021, and he had to cancel performances, ultimately never returning to the stage before his death.

2.5. Personal Life and Hobbies

Nakamura Kichiemon II was a man of diverse interests beyond his demanding Kabuki career. From childhood, he loved drawing and sketching. In high school, he even apprenticed with a painter to study bunjinga (literati painting). In later years, he published art collections and held solo exhibitions, with his original drawings displayed in galleries. He also provided audio guides and gave lectures at museums. His favorite painters included Claude Monet and Paul Cézanne, as he found their art accessible without prior knowledge. He also admired Georges Rouault and visited his atelier for an NHK travel program.

He adopted the pen name Matsu Kanzhi (松 貫四_{Matsu Kanzhi}^Japanese) for his work as a Kabuki playwright and painter, inheriting the name of his ancestor, the Ningyō Jōruri playwright Matsu Kanzhi I. Around 2003, he expressed a desire to focus more on his activities as Matsu Kanzhi, increasing his painting and play productions.

Unusually for a Kabuki actor, he excelled at quizzes, often appearing on and winning top prizes on shows like "Sekai Fushigi Hakken!" (World Mystery Discovery), "Waku Waku Dōbutsu Land," and "Art Entertainment Meikyū Bijutsukan," showcasing his extensive knowledge.

Though his parents and grandfather were keen on Haiku, he admitted he was not good at it, stating, "I'm greedy, so I wanted to compose about this and that, everything. That's why I was no good." He also confessed, "I quickly gave up on haiku because the process of discarding or cutting down seemed ill-suited to me." The only haiku his mother approved of, written in second grade, was "Cherry blossoms scatter, children going to school are happy." While advised to read Matsuo Bashō and Kobayashi Issa, he preferred Yosa Buson. He was more interested in the lives of Bashō and Issa as potential theatrical subjects than their actual works.

He was a passionate car enthusiast, obtaining his driver's license at age 16 at Samezu. He even considered getting a circuit license to become a racer. His first car was a used Datsun, followed by a Toyopet Corona, Toyota Publica, Ford Consul, and an MG MGB during his university years. In the late 1990s, he drove a Daimler Double-Six and a Mercedes-Benz. He admired James Dean and always hoped to own a Porsche, a dream he never fulfilled. He preferred manual transmission cars. His favorite color was blue, which he associated with the summer sunlight on the sea near Chikura in Chiba Prefecture, his wet nurse's hometown. He enjoyed buying blue chairs and wearing midnight blue clothes in his youth, though he noted in a 1994 interview that blue became harder to wear as his hair whitened.

Before his marriage, he was a homebody, but under his wife Chisa's influence, he began attending opera performances. Around 1995, he would travel to Italy to watch opera during his breaks, finding it relaxing.

He was a "tsundoku" (compulsive book buyer) reader, indulging in a wide range of genres. He owned almost the entire Iwanami Bunko collection and would often buy entire sets of books. His childhood reads included I Am a Cat (elementary school), The Red and the Black by Stendhal and The Little Prince (junior high). In his 20s, he enjoyed Ian Fleming's James Bond series and Albert Camus' The Stranger. In his 70s, he read Ajisai-sha Zuihitsu by Kiyokata Kaburaki.

His favorite foreign films included East of Eden, which he would weep watching, and Apollo 13, which also moved him to tears, much to his wife's bewilderment. Some Like It Hot was another unforgettable film. His favorite actress was Marilyn Monroe. In high school, he was passionate about modern jazz, developing a fondness for Miles Davis's music after watching Elevator to the Gallows with his mother.

He loved Manga, particularly works from Garo around age 21, and had stacks of Sanpei Shirato's Kamui Den in his dressing room. He preferred clean and precise art styles, having enjoyed Noboru Baba, Osamu Tezuka, Hifumi Yamane, and Koichi Kojima's female characters as a child. He found Yoshirō Katō's works amusing. He regularly bought Shōnen Sunday. For relaxation, he watched animated shows like Konchū Monogatari Minashigo Hatchi and Tom and Jerry, admitting he would cry watching Hutch's struggles to find his mother.

He enjoyed puns, though his family disliked them, and his daughters would often mock him at home. Even his relative Nakamura Kankurō XVIII (later Nakamura Kanzaburō XVIII) pleaded with him to stop making puns. A favorite childhood pun he often cited was "My older brother has a double, and I have an old [o-furu, meaning 'used'] one."

He was a regular visitor to Tokyo Disneyland since its opening, with Winnie-the-Pooh being his favorite character. He enjoyed the relaxing and heartwarming nature of Pooh, even queuing for "Pooh's Hunny Hunt" with his grandson. He once explained his fondness for Pooh by saying, "He's like me, he loves honey." He was also seen enjoying Hawaiian pancakes with whipped cream on a TV show. He once welcomed his grandson Ushinosuke with a giant Hiyoko-chan plushie, the mascot of Nissin Foods' Chicken Ramen.

When asked about his favorite foods until his 50s, he often replied, "Nothing in particular, I eat anything." However, in November 2001, he wrote a column expressing his joy at fulfilling a 30-year dream of eating his fill of Fugu sashimi in Yufu. In his 70s, he connected his love for Pooh to a shared love for honey. He also commented on his taste disorder, stating that he worried about when he would be able to eat his favorite eel, soba, and tempura again, fearing that if eel tasted bad, he would "lose the will to live." In September 2022, during the Shūzan-sai festival, two of his favorite items, "Saga Ariake Yakinori Can" from Morihan Noriten and "Edo Meisan Hon-bettarazuke" and "Tottori Sand Dunes Rakkyō Amazu" from Ginza Yamau, were sold as "Nakamura Kichiemon's Preferred Items."

3.1. Major Roles and Performances

Nakamura Kichiemon II was renowned for numerous iconic roles. Among his most celebrated was Musashibō Benkei in plays such as Kanjinchō and Yoshitsune Senbon Zakura, which became his specialty. He studied films of Matsumoto Kōshirō VII, who was known as the "Benkei actor," and incorporated both his own innovations and the styles inherited from his father and Nakamura Kichiemon I. He also portrayed Ōboshi Yuranosuke (the historical Ōishi Kuranosuke) in Kanadehon Chūshingura, the famous tale of the Forty-seven Ronin. While senior actors typically showed Kuranosuke awakening to his true nature, Kichiemon II wished to perform with a residual drunkenness, yet still move the audience to tears, creating a Yuranosuke that smelled strongly of sake until the very end.

Other significant roles included:

• Ōpanji Kiyosumi** in Imoseyama Onna Teikin, a role he was thoroughly coached in by his first co-star, Nakamura Utaemon VI.
• Banzuiin Chobei** in Gokuritei Banzuiin Chobei, inheriting the style of Ichikawa Danjūrō IX via Nakamura Kichiemon I and his father Matsumoto Hakuō I.
• Higuchi Jiro** in Hiragana Seisuiki, inheriting Kichiemon I's style from his father. His first role as Komawakamaru in this play saw him co-star with Kichiemon I, but he cried so much he was immediately replaced.
• Takechi Jūbei Mitsuhide** in Ehontaikoki, a signature role of Kichiemon I, inherited from his father based on the style of Ichikawa Danzō VII.
• Kumagai Naozane** in Ichinotani Futaba Gunki. He inherited Kichiemon I's Ichikawa Danjūrō IX style from his father, adding his own interpretations. This play held many memories with Kichiemon I, who performed as Kumagai with young Kichiemon II as Kosaburo and Koshiro.
• Shunkan Sōzu** in Heike Nyogo ga Shima. This was Kichiemon I's revived and perfected specialty. Kichiemon II inherited it from his father and considered it his favorite work.
• Tokaiya Ginpei** (actually Taira no Tomomori) in Yoshitsune Senbon Zakura, learning from his father's style and Onoe Shōroku II's performance, referencing Danzō's notes for Kichiemon I.
• Kajiwara Heizo** in Kajiwara Heizo Homare no Ishikiri, a role Kichiemon I revived and made his specialty. Kichiemon II inherited it through his father and mother during the Kinome-kai study group.
• Kochiyama Sosun** in Tenmon Ifu Ueno no Hatsuhana, inheriting Kichiemon I's style from his father.
• Takebe Genzō** and **Tonerimatsuōmaru** in Sugawara Denju Tenarai Kagami. Kichiemon I's Matsuōmaru was the Harimaya style, inherited from his father, based on the Naritaya style. Genzo was learned through his parents in the Kinome-kai.
• Ichijo Ōkura Nagakiyo** in Oniichihōgen Sanryakuno Maki Ichijō Ōkura Monogatari. At 15, he learned Kichiemon I's style from Nakamura Kanzaburō XVII for the Kinome-kai. He later listened to Kichiemon I's recordings, noticing subtle nuances in his speech that suggested a genius understanding of the role's rank and courtly accent.
• Sano Jirozaemon** in Kago Tsurube Hanakawado Niyasumi, a role he learned in detail from Nakamura Utaemon VI, who described how Kichiemon I and his father performed it.
• Kinouchi Sogo** in Higashiyama Sakura Sōshi (Sakura Gimin Den).
• Kato Higo no Kami Kiyomasa** in Nijōjō no Kiyomasa.
• Matsuura Shinnobu** in Matsuura no Taiko, a work written for his great-grandfather Nakamura Karoku III, refined by Kichiemon I.
• Maizō** in Hakata Kojorō Namimakura.
• Sasaki Moritsuna** in Ōmi Genji Senjin Yakata Moritsuna Jin'ya. This was a significant play for him due to his shared performances with Kichiemon I as Kosaburo and Koshiro.
• Nanpō Jūbei** in Futatsu Chōchō Kuruwa Nikki Hikimado, inherited through his parents in the Kinome-kai.
• Danshichi** in Natsu Matsuri Naniwa Kagami, also inherited through his parents in the Kinome-kai.

3.2. Creative and Revival Works

Nakamura Kichiemon II, under the pen name Matsu Kanzhi (松貫四_{Matsu Kanzhi}^Japanese), made significant contributions to Kabuki through his original scriptwriting, adaptations, and the revival of classical plays. He supervised, configured, scripted, and edited various works.

Notable works include:

• **Kanzen Chōaku Nozoki Karakuri** (勧善懲悪覗機関_{Kanzen Chōaku Nozoki Karakuri}^Japanese), commonly known as "Murai Choan." He revived this work by Kawatake Mokuami (written at age 47). His performance earned him the National Theatre Award of Excellence. First performed in August 1979 at the National Theatre Small Theatre.
• **Saikai Zakura Misome no Kiyomizu** (再桜遇清水_{Saikai Zakura Misome no Kiyomizu}^Japanese), his first original creation as Matsu Kanzhi. This was a re-adaptation of Aika Soga Nakamura by Matsu Kanzhi I, first performed in 1793. Its premiere was in June 1985 at the Konpira Grand Theater in Kotohira Town, and it was revived in April 2004 at the same venue for its 20th anniversary, and in September 2017 at the Kabuki-za during the Shūzan-sai.
• **Kuwana-ya Tokuzō Irufune Monogatari** (桑名屋徳蔵入舩物語_{Kuwana-ya Tokuzō Irufune Monogatari}^Japanese), premiered in June 1986 at the Kabuki-za.
• **Reigen Kameyama Hoko** (霊験亀山鉾_{Reigen Kameyama Hoko}^Japanese), a Tsuruya Nanboku work from 1822, revived after 57 years. It is considered a representative work of "the flower of evil" where beauty is found in villainy. First performed in November 1989 at the National Theatre Grand Theatre. It has since been adapted and revived by Kataoka Nizaemon XV.
• **Noboru Ryuu Wakare no Setouchi Fujito** (昇龍哀別瀬戸内・藤戸_{Noboru Ryuu Wakare no Setouchi Fujito}^Japanese), a dance-drama based on the Noh play "Fujito," with an anti-war theme. It was created for dedication at Itsukushima Shrine in Hiroshima and is the first of a trilogy. Premiered in May 1998 at Itsukushima Shrine in Miyajima, and revived in July 2008 at Enryaku-ji on Mount Hiei as a Takigi Nō (bonfire Noh) performance, and again in September 2022 at Kabuki-za.
• **Tomoe Gozen** (巴御前_{Tomoe Gozen}^Japanese), a dance-drama and the second work in the trilogy. Premiered in October 1999 at the Konpira Grand Theater in Kotohira Town.
• **Hakurojō Monogatari** (白鷺城異聞_{Hakurojō Monogatari}^Japanese), a composition and direction incorporating historical facts and legends about the master swordsman Miyamoto Musashi, conveying messages of life, death, and peace. Premiered in October 1999 at a special venue in San-no-maru Square of Himeji Castle. It was revived in September 2022 at Kabuki-za.
• **Hinimukau Shima no Kagekiyo** (日向嶋景清_{Hinimukau Shima no Kagekiyo}^Japanese), based on the Ningyō Jōruri play Musume Kagekiyo Yashima Nikki and focusing on the character of Kagekiyo. This is the third work in the trilogy. Premiered in April 2005 at the Konpira Grand Theater, and again in November 2005 at the Kabuki-za.
• **Enma to Seirai** (閻魔と政頼_{Enma to Seirai}^Japanese), a dance-drama based on the Kyogen play "Seirai." Premiered in June 2007 at the Kabuki-za, Tokyo, and revived in April 2008 at the Misono-za, Nagoya.
• **Horibe Yahei Shimizu Ikkaku Shūzan Jūshu no Uchi Matsuura no Taiko Sorezore no Chūshingura** (堀部彌兵衛 清水一角 秀山十種の内 松浦の太鼓 それぞれの忠臣蔵_{Horibe Yahei Shimizu Ikkaku Shūzan Jūshu no Uchi Matsuura no Taiko Sorezore no Chūshingura}^Japanese), an adaptation of a play written for Kichiemon I by Nobuo Uno. Premiered in December 2007 at the National Theatre Grand Theatre, its first performance since 1974.
• **Tōshi Kyōgen Iga Goe Dōchū Sugoroku** (通し狂言 伊賀越道中双六_{Tōshi Kyōgen Iga Goe Dōchū Sugoroku}^Japanese), a full-length play that revived the "Okazaki" scene, which had only been performed twice since the war, after 44 years. By positioning "Okazaki" as the climax, it was performed as a full-length play, receiving the Yomiuri Theater Grand Prize and Best Production Award-the first Kabuki work to do so. Premiered in December 2014 at the National Theatre Grand Theatre and revived in March 2017.
• **Datekurabe Ise Monogatari** (競伊勢物語_{Datekurabe Ise Monogatari}^Japanese), a revival of a play based on The Tales of Ise. This was the first performance at the Kabuki-za since 1965. Kichiemon I performed Ariwara no Tsunenobu in 1915 and 1935. Premiered in September 2015 at the Kabuki-za's Shūzan-sai.
• **Shinrei Yaguchi no Watashi** (神霊矢口渡_{Shinrei Yaguchi no Watashi}^Japanese), was re-edited to perform the full play, including "Tōkaidō Yakimochizaka" (Act 1) and "Nama Mugimura Dōnen Anshitsu" (Act 3), which had not been performed for over 100 years, alongside the common "Tonbei Sumika" (Act 4) and "Yura Hyōgonosuke Shintei" (Act 2). Premiered in November 2015 at the National Theatre Grand Theatre.
• **Kokō Yūshi Musume Kagekiyo - Hyūga Shima** (孤高勇士嬢景清－日向嶋－_{Kokō Yūshi Musume Kagekiyo - Hyūga Shima}^Japanese), an adaptation of Matsu Kanzhi's Hinimukau Shima no Kagekiyo reconfigured into a full-length play with added preceding acts by the National Theatre's Literary Research Group. Premiered in November 2019 at the National Theatre Grand Theatre.
• **Sumamura** (須磨浦_Sumamura^Japanese), a self-written, self-directed, and self-performed one-man play. It re-examined Kumagai Naozane from Kumagai Jin'ya and was performed on a Noh stage with minimal makeup, costumes, or props. Premiered in 2020, filmed at the National Noh Theatre and streamed online, later broadcast by NHK.

His involvement extended to the revitalization of the Konpira Grand Theater (also known as Kinmaru-za) in Kotohira Town, which is now a spring tradition. For the first performance, he answered the request to perform new works for the historically significant venue, adopting the pen name Matsu Kanzhi for the first time to write and direct Saikai Zakura Misome no Kiyomizu, utilizing unique stage mechanisms like the "empty well" at the Kinmaru-za. The schedule was intense, with the play premiering in Osaka in June 1985 and then moving to the Kinmaru-za two days later. He also spearheaded fundraising efforts, aiming for 500 decorative banners with actor and theater names in Kotohira Town, but ultimately achieved 1,000. He participated in events like onerii (parades) and funanori-komi (boat parades), helping to create an Edo-period atmosphere in the town. He assembled a team of veterans, including set designer Shunichiro Kanai and lighting designer Kiyotsune Soma, who met his demand for natural lighting. Surprisingly, members of the local Chamber of Commerce and Industry's youth division, originally slated for parking duty, ended up operating hazardous stage mechanisms like the seri (trap door) and mawari-bon (revolving stage). Despite their earnest, late-night rehearsals, their amateur efforts sometimes led to delays, causing professional actors to shout criticisms from the stage. Upon realizing these operators were volunteers, Kichiemon II personally apologized to the youth members. These efforts were documented in the NHK Special "Recreation! Konpira Grand Theater," broadcast in July 1985 and re-broadcast in 2006 and 2021.

3.3. Activities outside Kabuki Stages

Nakamura Kichiemon II, during his ten-year tenure with the Toho theatrical company alongside his father and brother, had many opportunities to perform in plays beyond traditional Kabuki, including straight plays and musicals. Theatre critic Kiyoshi Mizuochi, who was a drama reporter for Mainichi Shimbun at the time, described his performance in Snow Country as Shimamura, stating, "He was so skillful, I have never seen an actor surpass Kichiemon in that role."

In 1964, during his Mannosuke era, he starred as Sabu in Sabu (based on Shūgorō Yamamoto's work). While his brother played the handsome lead, Eiji, Mannosuke's portrayal of the simple Sabu was highly praised. However, when Mizuochi praised his performance, Kichiemon II became displeased, saying, "That was Eiji's play. It is no honor for Kichiemon to be praised for Sabu." This indicated his concern that being typecast in supporting, comedic roles in modern plays would detract from his future as the successor to the Kichiemon name. Despite this, when asked about his favorite roles in a 1970 interview for "Quarterly Dōjidaigeki," he did name Sabu.

His succession ceremony as Kichiemon II was also the grand opening performance for the Imperial Theater, marking a lavish, first-and-last succession performance for the Toho company. Toho heavily promoted the young star. His first "red-haired" role as Julien Sorel in the 1966 modern play Red and Black, written by Shōhei Ōoka and directed by Kazuo Kikuta, was a significant production. He dyed his hair red and got a perm for the role, even traveling to France for a week to scout locations related to Stendhal's life. He once famously recounted an embarrassing moment in a Parisian shoe store where, trying on shoes, he discovered holes in both of his socks, attributing it to walking more than he was used to in Japan. During the performance, he contracted mumps, with a fever of 102.2 °F ^{(39 °C)}, causing him to feel like he was "walking on clouds." Contemporary reviews noted the young female audience's fervor, often screaming upon his appearance and prioritizing him over the play itself.

During this period, he also ventured into television dramas and films, co-starring with notable actresses like Isuzu Yamada, Yoko Tsukasa, Mariko Okada, Ayako Wakao, Shima Iwashita, Kiwako Taichi, Nobuko Otowa, and Haruko Sugimura. He also frequently guest-starred in Shinpa performances, often playing opposite Yaeko Mizutani I in plays like Fukeizu and Konjiki Yasha.

After his succession to Kichiemon, his non-Kabuki stage appearances included The Life of Dazai Osamu, Fūrin Kazan, and Throne of Blood. He also famously played Ittetsu Hoshi when Star of the Giants was adapted for the stage. Theatre critic Koji Toita praised Kichiemon's naturalness in modern roles, highlighting how he presented his authentic self without pretense, a skill he believed distinguished him from other actors. Toita suggested that Kichiemon's approach to modern drama was rooted in the sensibilities of Kabuki's sewamono (commoner plays), allowing him to portray characters with a depth that other film or TV talents could not match. He concluded that Kichiemon always acted as a Kabuki actor, even in modern plays.

4.1. TV Dramas and Film Appearances

Nakamura Kichiemon II had a prolific career in both television and film. His notable film roles included:

• The River Fuefuki (1960) as Yasuzō
• Chūshingura: Hana no Maki, Yuki no Maki (1962) as Sanpei
• Kuroneko (1968) as Kindoki (lead role)
• Double Suicide (1969) as Kamiya Jihei (lead role)
• Ogin-sama (1978)
• Rikyu (1989) as Tokugawa Ieyasu
• Zakurozaka no Adauchi (2014) as Ii Naosuke

His television career was even more extensive, with a particular emphasis on Jidaigeki (historical dramas):

• Chushingura no Hitobito (1956, KR Television) as Kichichiyo.
• Daisuke Torimonochō (1958, Nippon TV) as Ameya Kinta.
• Kamigami no Medeshiko (1959, Nippon TV) in a lead role.
• Nogiku no Haka (1959, Nippon TV) as Masao.
• Kuchizuke (1962, Nippon TV) as Kin'ichi.
• Sakoku (1963, NHK General) as Gosaku.
• Ieyasu Mujō (1963, NET) as Okazaki Saburō Nobuyasu (Matsudaira Nobuyasu).
• Yakusoku (1964, NHK General) as Shirō, a work that won the Arts Festival Encouragement Prize. Film footage of this is available in the NHK Archives.
• Niji no Sekkei (1964, NHK General) as Shinjiro Kitagawa.
• Hatsukoi Monogatari (1964, Fuji TV) as the student Shōhei, a role he cited as memorable.
• Sabu (1966, Fuji TV) as Sabu, a role he reprized in 1968 and 1975.
• Oh! Wagaya (1967, Fuji TV) as Yoshio Takaoka (second son), starring the entire Matsumoto Kōshirō VIII family of five.
• Uta Andon (1968, Mainichi Broadcasting) as Kijūrō Onchi.
• Bungo Torimono Ezu (1968, NHK General) as Heikichi.
• Nagai Saka (1969, NET) as Mizunoe Miura, earning him the 2nd Television Grand Prize and Excellent Talent Award.
• Umon Torimonochō (1969-1970, Nippon TV) as Kondō Umon, also winning an Excellent Talent Award. This series is still rerun on specialty channels. When asked about the difference in his acting between Umon Torimonochō and Onihei Hankachō, he revealed that during Umon, he was acting frantically and had not yet mastered the advice to "place a calm self in the audience." He admitted that he only truly mastered this skill recently (as of 2006).
• Sugishi Kyonen (1971, TBS) as Yahachi.
• He also appeared as Tatsuzō, the son of Hasegawa Heizō, in his father's version of Onihei Hankachō (1971-1972, NET). His relative Kinnosuke Yorozuya also played the third generation Hasegawa Heizō on television.
• Ima Honoo no Toki (1972, TBS) as Shiro Fujise, a keen science critic, focusing on environmental pollution over 13 episodes. This was one of the few contemporary dramas he starred in after his succession.
• Kirisute Gomen! (1980-1982, TV Tokyo) as Izumo Hanabusa. He was actively involved in script revisions, even proposing a "James Bond-like taste" for the third series after his father's death, suggesting a slightly sexier opening with nude female silhouettes and a scene where the protagonist flies a hang glider into Osaka Castle in the final episode.
• Kou-Yu to Ryuu-Hou (1983, NHK General) as the voice of Xiang Yu.
• He famously played the lead role of Musashibō Benkei in the NHK jidaigeki series Musashibō Benkei (1986). He appeared as a judge at the 36th NHK Kōhaku Uta Gassen the previous year.
• In Dai Chūshingura (1989, TV Tokyo), he played Tokugawa Tsunatoyo, co-starring with his brother.
• He starred as Hasegawa Heizō ("Onihei") in the Shōtarō Ikenami series Onihei Hankachō, which ran for nine series from 1989 to 2001, and continued with short series until 2016, totaling 150 episodes. Initially, he had repeatedly declined the role, despite direct requests from the original author, Ikenami. However, he accepted when his age matched Heizō's, after Ikenami encouraged him, saying, "It's alright. Do it your way." This role became his definitive signature, even sparking an "Onihei boom" that captivated young female audiences. He acknowledged in Monogatari that for many, "Kichiemon means Onihei." He later remarked to his biographer that he found it "a bit... " if Onihei was listed as his representative work after his death, implying his preference for his Kabuki roles. Interestingly, Ikenami reportedly imagined Kichiemon's father, Matsumoto Hakuō I, for Heizō's appearance, and Kichiemon himself had played Tatsuzō, Heizō's son, in his father's version of the series.
• He narrated The Abe Clan (1993, Fuji TV), which won a Galaxy Award Encouragement Prize in 1995.
• He narrated Araki Mataemon Kessen Kagiya no Tsuji (1990, NHK General).
• He appeared in Chushingura Kaze no Maki Kumo no Maki (1991, Fuji TV) as Ichiemon Hattori.
• In 2003, he played Ōishi Kuranosuke for the first time on television in Chūshingura: Ketsudan no Toki (TV Tokyo), delivering a powerful performance.

Unlike his brother and nephew, who ventured into various modern dramas after their succession, Kichiemon rarely appeared in contemporary television dramas after taking the Kichiemon name. Notable exceptions include Oh! Wagaya (1967), where his entire family starred, and Ima Honoo no Toki (1972), where he played a sharp science critic addressing pollution.

4.2. Variety, Cultural, and Documentary Appearances

Nakamura Kichiemon II frequently appeared on various television and radio programs, showcasing his personality, knowledge, and artistic philosophy to a wider audience.

• Star Sen'ichiya (1960, Fuji TV) as a guest with his father and brother.
• Panorama Gekijo (1960, NHK General) as a guest.
• Watashi no Himitsu (1966, NHK General) as a guest.
• Doyō Show (1969, NET) with Yuriko Hoshi.
• Kyō no Ryōri (NHK General) where he showcased his "Bannai Burger" (1985) with his wife.
• Subarashiki Nakama (1979, 1984, CBC Television), notably visiting the Konpira Grand Theater in 1984.
• Rensō Game (1980, 1986, NHK General) as a contestant, with the 1986 episode available in the NHK Archives.
• Junior Daizenka (1982, NHK Educational) for an episode on "Encounters with Books," focusing on The Little Prince.
• NHK Tokushū: Saien! Konpira O-shibai (Recreation! Konpira Grand Theater) (1985, NHK General), a documentary on the revival of the playhouse.
• Star Bakushō Q&A (1985, 1988, Yomiuri TV), performing guitar and singing a song written by his brother in 1985.
• Waku Waku Dōbutsu Land Special (1986, TBS).
• Seishun Playback (1986, NHK General), focusing on his life.
• Hiru no Present (1986, NHK General) for a segment on human behavior.
• Kon'ya wa Saikō! (1987, Nippon TV) where he famously ran as a candidate for the second generation of Tamori's popular character "Daimajinko," showcasing his singing and dancing.
• Shinshun Star Kakushi Gei Taikai (1988, Fuji TV) as a judge.
• TV Essay: Watashi no Hitotsu (1989, NHK General) "24 Color Pencils."
• Nichiyō Tokushū: Shin Sekai Kikō (1989, TBS) narrating "The World's Longest River: The Nile."
• He was a semi-regular on Sekai Fushigi Hakken! (World Mystery Discovery) (TBS), known for his erudition and affectionately called "Oyabun" (Boss) by the regular cast, including Tetsuko Kuroyanagi. He returned for an episode in 2018 after a 21-year absence. The final episode of the show in March 2024 featured his 1995 appearance as "the future Living National Treasure" and his comment, "If I knew that, I'd be an archaeologist!"
• He appeared on various "Naru Hodo! The ~ no Saiten Special" quiz shows on Fuji TV as part of the Onihei team.
• He narrated Suntory Adventure Specials, including "Seeking Mysterious Giant Fish in the Glacial Lakes of Kaiko Ken" (1989) and "Kaiko Ken's Great Journey: A Scottish Memoir" (1990).
• He appeared in "Nihon no Dentō Geinō - Kabuki Kanshō Nyūmon" (Japanese Traditional Arts - Kabuki Appreciation Intro) (1990, NHK Educational).
• He narrated Rekishi Suiri Document: Genghis Khan no Ryōbo o Sagase! (1991, Nippon TV).
• He participated in "Renzoku Tōron: Nihonjin no Kokoro" (Continuous Discussion: The Japanese Spirit) (1993, NHK General) as a panelist discussing "Form and Art" in performing arts.
• He provided Japanese recitation for Kanshi Kikō (Chinese Poetry Journey) (1993-1996, 1999-2009, NHK Educational), available in the NHK Public Library.
• He hosted Tea Time Geinōkan (1995, NHK General), featuring a discussion and a recorded performance of Fukeizu.
• He was the navigator for Roman Kikō: Chikyū no Okurimono (1994-1996, TBS).
• He appeared on Waratte Iitomo! Telephone Shocking (1995, Fuji TV).
• He was a guest on Studio Park kara Konnichiwa (1998, 2001, 2008, NHK General), discussing his grandfather, his acting philosophy, and his role as Onihei.
• He was a guest on Sanma no Manma (1999, 2012, Fuji TV), bringing funazushi as a gift and sharing anecdotes about his daughters and struggling with hearing prompts due to his deteriorating hearing.
• He was featured in ETV Tokushū: Nakamura Kichiemon, Itsukushima ni Tatsu (1998, NHK Educational), a documentary on his challenge in new Kabuki.
• He participated in Kabuki o Sukutta American (1999, NHK General), focusing on the American who saved Kabuki.
• He was a guest on Tokudane! (2001, Fuji TV), discussing his autobiography.
• He appeared in Kabuki Buyō Kanshō Nyūmon (2001, NHK Educational).
• He was featured in Sekai Waga Kokoro no Tabi (2001, NHK BS2), focusing on France and Rouault.
• He was the narrator for High Vision Special: Kūkai no Fūkei (2002, NHK BShi).
• He appeared in TV Ningen Hakken (2002, TV Tokyo).
• He was a panelist on Tamesu yo Gatten (2002, NHK General).
• He presented his family's art collection on Kaiun! Nandemo Kanteidan (2002, TV Tokyo).
• He was a "Best Curator" on Art Entertainment Meikyū Bijutsukan (2004, 2006, 2008, 2010, NHK General).
• He featured in Kokoro ni Nokoru Ie (2006, Nippon TV) and Seikatsu Hot Morning (2006, NHK General).
• He narrated Kokoro ni Kizamu Fūkei (2006-2021, Nippon TV).
• He was featured in High Vision Special: Kanreki kara no Chōsen (2006, NHK BShi), focusing on his challenge of creating new Kabuki.
• He was interviewed for ETV Tokushū: Hoshi no Ōjisama to Watashi (2007, NHK Educational) about The Little Prince.
• He hosted Nihon no Dentō Geinō Nakamura Kichiemon no Kabuki Nyūmon (2010, NHK Educational), a four-part series on Kabuki.
• He was featured in Nidaime no Shōzō Nakamura Kichiemon no Sekai Gei no Kiwami o Motomete (2011, BS Asahi).
• He was a guest on The ☆ Star: Shima Iwashita (2011, NHK BS2/BShi), sharing memories from Double Suicide.
• He appeared as a VTR guest on Uchi Kuru!? (2011, Fuji TV).
• He was featured in Jōnetsu Tairiku (2011, Mainichi Broadcasting), a documentary on his passion for Kabuki.
• He appeared on Ii Tabi Yume Kibun (2012, TV Tokyo), exploring Setouchi with Chikako Kaku.
• He was a guest on BS Rekishikan (2012, 2013, NHK BSP).
• He hosted Oishisa no Monogatari Kōfuku no Hitosara (2012-2013, BS Asahi).
• He was a guest on Dare Datte Haran Bakushō (2015, Nippon TV), showing his extensive Winnie-the-Pooh collection.
• He was a guest on Sawako no Asa (2015, Mainichi Broadcasting/TBS) and The Interview: Top Runner no Shōzō (2015, BS Asahi).
• He appeared on Bi no Tsubo (2016, NHK Educational) discussing noren (shop curtains).
• He was a VTR guest on Nijiiro Jean (2010, 2017, Kansai TV).
• He appeared on Gogo Nama: Oshaberi Biyori (2017, NHK General) and Netchu Sedai Otona no Ranking (2017, BS Asahi).
• He was a guest on The Profiler: Yume to Yabō no Jinsei (2018, NHK BSP) discussing William Shakespeare.
• He was a frequent guest on Tetsuko no Heya (TV Asahi), with appearances in 2006, 2018, 2019, and a memorial broadcast in 2021.
• He was a guest on Jinsei Saikō Restaurant (2018, TBS).
• He was featured in The Documentary Nidaime Nakamura Kichiemon (2018, BS Asahi), focusing on his life as a Living National Treasure at 74.
• He was a VTR guest on Pittanko Kan Kan (2019, TBS), treating his grandson to a meal and singing "La Marseillaise".
• He was featured in Ashita mo Hare! Jinsei Recipe (2019, NHK E-tele) and Miyakobito Gokujo no Asobi (2020, NHK General).
• He was a guest on Ijin-tachi no Shikō no Recipe (2021, NHK General).
• Following his death, memorial programs were broadcast, including Jōhō Live Miyaneya, Mezamashi 8, Mr. Sunday, and Radio Shin'ya Bin, which re-broadcast his 2020 interview. NHK General aired "In Memory of Nakamura Kichiemon" on December 18, 2021, featuring famous Kabuki scenes and unreleased footage, with guests including Onoue Kikunosuke V. NHK also broadcast "NHK Eizō File Ano Hito ni Aitai Nidaime Nakamura Kichiemon" in November 2023, and Sekai Fushigi Hakken! included a tribute in its final episode in March 2024.

His radio program was Kichiemon Otoko no Shi (TBS Radio).

4.3. Commercial Appearances (CM)

Nakamura Kichiemon II also had a significant presence in commercial advertisements, reflecting his broad appeal.

• He appeared as a child model in a PR photo for Denden Kōsha (now NTT) "Red Phone" around 1955, when the first red public phones were installed in Kabuki-za dressing rooms.
• He appeared in Hitachi "Kidocolor" commercials (1977-1978), including "Deka Deka 26 Tradition Beauty Sensor - Nidaime Succession Arc" (1978).
• He was the third spokesperson for Nestlé Japan "Nescafé Gold Blend" in the "Chigai ga Wakaru Hito" (The Man Who Knows the Difference) series (1972), which won an ACC CM Festival Excellence Award. He initially insisted on appearing in Kabuki costume, but after much persuasion from staff, he agreed to wear a sweater, demonstrating his professional dedication. He returned for the "Shin Chigai o Tanoshimu Hitotachi" (New People Who Enjoy Differences) series in 2004.
• He was a fashion model for Sanyo Shokai "The Scotch House" (1981).
• He endorsed Daiichi Seiyaku "Caroyan High / Caroyan S" (1982).
• He appeared in Ajinomoto General Foods "Grandage Sennen Coffee" commercials (1983-1984).
• He narrated a Suntory radio commercial (1991) that won the ACC CM Festival Grand Prize and was inducted into the CM Hall of Fame.
• He featured in various House Foods commercials for "Rokko no Oishii Mizu" (1990s, 2000-2001), "Curry wa House" (1993), and "Seafood no tame no Curry desu / Beef no tame no Curry desu" (1997-1999), and their "100th Anniversary Corporate Ad" (2013).
• He appeared in JRA "Boku no Keiba, Anata no Keiba" commercials (1996), including the Tenno Sho (Autumn) and Arima Kinen editions.
• He had a partnership with the Swiss luxury watchmaker Blancpain, visiting their headquarters in Lausanne around 1996-1997 and returning with his wife and youngest daughter in 2002 to showcase their workshops for a magazine.
• He endorsed Soke Gento Kitchoan Japanese confectionery, appearing in local commercials and promoting products on TV.
• He collaborated with Cartier for an essay on their Trinity Ring in CREA magazine (2000).
• He contributed to the 10th-anniversary catalog for Line Art Charmant eyewear.
• He appeared in Sharp "Plasmacluster Humidifying Air Purifier" commercials (2010).
• He was featured in SMBC Nikko Securities "100TH" corporate advertisements (2018, 2019).
• He served as a fashion model for Papas company from 2004 until June 2021, with his photos appearing in magazines like Bungeishunjū and Shūkan Bunshun.