開催終了巨匠・別役実の岸田戯曲賞受賞作品（日本のトニー賞）
詳細
2006年08月28日 13:05 更新
演劇好きにはたまらない、 ☆☆☆巨匠・別役実の岸田戯曲賞受賞作品（日本のトニー賞）☆☆☆ ソウル、東京を経て、ついにNY初上演決定！！
日本を代表する不条理劇作家が描く、理念なき時代への危険なシグナル 謎の自殺、死刑囚、そして管理社会のカーニバル・・ 作品に隠された多くのシンボリズムは、あなたの目にはどう映るだろうか
平成18年度文化庁国際芸術支援事業木山事務所主催「赤い鳥の居る風景」（英題：”A Scene with A Red Bird”）作・別役実 演出・K.KIYAMA 日時: 2006年10月13日（金）& 14日（土）午後8時、15日（日）午後3時会場: American Theatre of Actors 314 West 54th Street (bet.8&9Ave.), NYC チケット: $30 ／一般 (団体割引があるようなので20%オフ、行ける方は言って下さい。一緒に行きましょう！）$20／学生（要ID）・シニア（65歳以上） SmartTixでオンライン購入（下記のアドレス）もしくは、212-868-4444（英語） http://
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ストーリー「盲目の女」の目に映る危険な風景争いもなく、事なかれと時間が過ぎてゆく、とある町。盲目の女とその弟を残して謎の自殺を遂げた両親の葬儀の真っ最中、一人の旅行者が現れる。両親に対し金を貸していたという旅行者は、彼らの死因を調査していた委員会により、奇妙なカーニバルが開催される町へと連行される・・・。一方、両親の借金を背負う決意をした姉弟に、心優しく接する町の人々。しかし、次第に浮き彫りになる思惑と距離感。そして、『社会から脱落した人間』が引き起こす悲劇・・・。淡々と流れる対話、存在感溢れる光と陰、そして劇中に隠された多くのシンボリズム・・登場人物の人間関係を推理劇風に追いながら、平和で穏やかな風景のウラに潜む危険を描いた、別役実、２９歳時の傑作！別役実 西にベケット、東には別役： 日本を代表する不条理劇作家別役実は、戦後日本の現代演劇を支えた前衛芝居の先駆者である。１９６７年、「マッチ売りの少女」と「赤い鳥の居る風景」で第１３回岸田國士戯曲賞を受賞。別役２９歳の若さで書き下した作品である。以来、他の追随を許さない対話術とユーモアのセンスで、現代社会のシステムを鋭く批評する。６０年代、三島由紀夫が政治的極右として有名である一方、極左として位置づけられたのが別役であった。若い時にイヨネスコやべケットから多大なる影響を受けた別役実は、現在の日本を代表する不条理劇作家であり、また日本演劇のクオリティを保ち続けてきた中核的存在である。演出家・K. KIYAMA 別役をこよなく愛する舞台人：東京の演劇界を守り続けてきた男木山事務所の代表であり、別役実の作品を数多くプロデュースしてきた木山潔が、K.KIYAMAの名前で２００４年３月に演出家デビューしたのが、この「赤い鳥の居る風景」である。別役の世界を斬新な演出で読み解き、０５年１２月ソウル公演にて大絶賛を受ける。NY公演の直前である０６年９月に東京の新国立劇場にて、同公演を行う。木山事務所 NY Times、The Village Voiceが絶賛！１９８０年に劇作家の別役実、山崎正和、演出家の末木利文、俳優の中村伸郎らの協力のもとに、演劇プロデューサーの木山潔を代表として創立。日本演劇の良質な伝統を引き継ぎながら、現代演劇の新たなリアリズムの探求を目指している。日本の代表的な劇作家の諸作品に加え、シェイクスピアやチェーホフ等の古典や欧米の現代戯曲、ミュージカルをレパートリーとして持ち、劇団制とプロデューサーシステムの併用という、日本では例のないユニークな方法で上演を続けている。文化庁芸術祭大賞、紀伊国屋演劇賞、スポーツニッポン新聞芸術大賞優秀賞など、多数の受賞歴があり、ここ数年は毎年海外公演を行っている。ニューヨークでは、過去に２回公演を行い、様々なプレスから素晴らしい賞賛と短期公演を惜しむ声を得ている。９９年１月、The Kaye Playhouseにてミュージカル「はだしのゲン」（原作・中沢啓治、米題：「Gen」）を上演。 広島での被爆体験を描いた自叙伝漫画の舞台化は、大きな話題を呼んだ。ニューヨークタイムズ紙（Lawrence Van Gelder記者）は、次のように評している。「素晴らしい演技の俳優たち、舞台に引き込まれる観客、そして感動と恐怖をもって訴える平和への切実な願い。５ステージという短期間にも関わらず、非常に印象深い作品である」。また、同紙は「シカゴでの大雪で、セット、小道具、衣装が届かなかったにも関わらず、力強く魅力溢れるステージだった」とも綴っている。この２年前の９７年には、La MaMa’s Annex Theaterにて、シェイクスピア演劇に取り組む１９世紀の歌舞伎一座の四苦八苦を滑稽に描いた、「仮名手本ハムレット」（作・堤春恵）を上演。The Village Voice（Deborah Jowitt記者）によると、「エキサイティングな作品である。伝統芸能である歌舞伎をテーマに、理想主義と崩れ衰えるもの、不名誉とそこから学び得る教訓を描いた冷血ドラマである」。
NY Premiere for Leading Absurdist of the Japanese Stage Minoru Betsuyaku, "Japanese Beckett", Is just about to be introduced.. Please do not wait for NY Times review..because, Three Performances ONLY!!
Brilliant Structure of the Dialogues, A stage-full of Metaphors, and Amazing Actors from Tokyo on the table of this Award-winning play. Come taste ?The Theatrical Feast? this fall!
Kishida Award Winning Play (Equivalent to the American Tony) KIYAMA THEATRE PRODUCTIONS Presents A Scene with A Red Bird Written by Minoru Betsuyaku Directed by K. KIYAMA WHERE AND WHEN: Friday, Oct. 13 at 8:00 PM Saturday, Oct. 14 at 8:00 PM Sunday, Oct. 15 at 3:00 pm American Theater of Actors 314 West 54 Street (bet.8&9Ave.), NYC General Admission: $30 Students & Seniors: $20 (ID Required at door) Purchase tickets before September 30, 2006 for $5 discount. Box office: SMARTTIX http://
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The Story, The Background. and The Metaphors Post-war pain lasts a lifetime. Disturbance is a crime. A fable that depicts Japan's civil society after World War II. The story centers around a blind woman and her younger brother, who decide to work off their parents' debt after their suicide but are suppressed by a committee which had been formed to investigate the parents' suicides. The woman's devotion to the debt brings anxiety to the townspeople who hope for nothing but a quiet, undisturbed life. This makes her a "red bird" -- a symbol of danger or a red light to a society that is unable to face its collective guilt. The play begins with a funeral scene after the suicide of the parents. A Traveler appears at the funeral who claims to have loaned money to the parents. He is questioned by a Man from the Committee. The Blind Woman recalls the day that Traveler visited their house: her parents were acting extremely awkwardly, while the Traveler should have been treated as a honored guest. Blind Woman, her Brother and the town people visit a town where the committee is holding a carnival and the population is marched around in ridiculous rituals, wearing conical hats. (The play was written in the late '60s, when the quality of life for the Japanese was improving, but issues of a "controlled society" started to be argued.) There the traveler has been arrested and tells of his lonely life story: he started his money lending business because he wanted to be close to people. He offers to dissolve the Parents' debt if the blind woman will marry him. The Blind Woman rejects the offer and chooses to work off the debt. The Brother, finding himself unable to work, becomes a thief and murderer and dies in a jailbreak attempt. Upon losing her younger brother, the Blind Woman declares in her final statement, "Even if I can only eat half as much, I'm going to pay back the debt. I think that, the important thing is not that I pay off the debt, but I keep paying back . . ." The metaphors of this plot are not immediately obvious. The debt symbolizes what the society of Japan owes to Korea for crimes during World War II. The Blind Woman and her brother symbolize youth, which can accept the obligation to work for forgiveness. The committee represents society at large, for whom moral issues fall away in times of prosperity. The parents are the Japanese people, whose awkwardness with a guest in their house stands for Japanese society's awkwardness with foreigners. The play was presented in Seoul as part of a series of plays commemorating the Japan-Korea Friendship Year 2005. Japanese theater critic Eisuke Shichiji wrote, "Over forty years ago, Betsuyaku had shown the fear of the post-war society that failed to take responsibility. Then I understood why Mr. Kiyama chose this piece to present in Korea." Meet Japan's leading absurdist, Minoru Betsuyaku "The far left-Playwright as thinker" Minoru Betsuyaku is a driving force behind postwar contemporary drama, who pioneered underground theater in Japan. He has been regarded as a leading "playwright as thinker" and social critic since the late '60s, when he won the Kishida Kunio award (equivalent to the American Tony) for "Matchiuri no shojo" and "Akai tori no iru fukei" in 1968. While Yukio Mishima was notorious for identifying with the far right in Japanese politics in the '60s, Betsuyaku was almost as notorious for helping to define the far left. In his early career, Betsuyaku was much inspired by Ionesco and Beckett, to whom he is frequently compared. He is Japan's leading playwright of the Theater of the Absurd. Betsuyaku's works have been recognized for the brilliant structure of dialogue and unique sense of humor, which boldly criticize modern society. "A Scene With A Red Bird" won the 13th annual Kishida award in 1967, when Betsuyaku was 29 years old. It is one of his early masterpieces, yet it is seldom staged. Betsuyaku's plays deal with man's larger problems--his own being and his relationship to the cosmos. Titles include "Soshite dare mo inakunatta" ("And Then There Were None"), which uses the plot and the characters of Agatha Christie's "Ten Little Indians" but sets the action in the world of Beckett's "Waiting for Godot," and executes each "little Indian" for something he does after he dies. Among his other plays that may be accessible to Americans are "The Little Match Girl," based on the Hans Christian Andersen story, and "I'm Not Her," a simple play posing a mating problem that is as likely to arise in Topeka as Tokyo. These have been translated by Robert N. Lawson of Washburn University in Topeka,KS but to-date, no plays by Betsuyaku have been produced in New York. Meet the Director, K. KIYAMA K. KIYAMA (director) is the artistic name of Kiyoshi Kiyama, the Japanese producer who, as an enthusiastic fan of Betsuyaku, has produced his plays numerous times. Kiyama made his directing debut with the masterpiece "A Scene With A Red Bird" in March, 2004 under the name "K. KIYAMA," receiving highly favorable reviews for productions in Tokyo and Seoul, Korea (December `05). This September, the production will have a four-week run at Shin-Kokuritsu Theater, Tokyo. KIYAMA THEATRE PRODUCTIONS Reviewed by NY Times and Village Voice Kiyama Theatre Productions was founded in 1980, by Kiyoshi Kiyama and notable Japanese theater personages including Minoru Betsuyaku, Masakazu Yamazaki, Toshifumi Sueki and Noburo Nakamura. Its award-winning productions have toured internationally, including "Kanadehon Hamlet" by Harue Tsutsumi, a backstage comedy in which a 19th century kabuki troupe?s attempt to stage Shakespeare becomes a director?s nightmare (New York-La MaMa, 1997; London and Moscow); "Gen" by Keiji Nakazawa, an autobiographical musical built around the atomic bombing of Hiroshima, (1999 New York-Kaye Playhouse, Seoul, and Poland) and "Sentaku" by Harue Tsutsumi, based on the trial of a third-generation, Japan-born Korean pianist who refused to be fingerprinted at the airport and was not allowed to enter Japan (2005, Kinpo, Japan and Seoul). The company's mission is to protect the quality of traditional Japanese theater, and to search for the new realism in modern theater. Its main repertoire is works by Japan's legendary playwrights, but includes some works include plays by Shakespeare and Checkhov and some modern plays and musicals. The company's reviews in New York to-date have been most flattering, but the short runs have left the reviewers cryin' for more. The New York Times (Lawrence Van Gelder), reviewing "Gen" during its "brief but meritorious five-performance run" in 1999, called it an "engrossing, well-acted, touching and horrific plea for peace" which was "powerful and intriguing despite the absence of the production's normal sets, costumes and props, stranded by snow in Chicago." "Kanadehon Hamlet," unvexed by blizzards, had a lush production in La MaMa's Annex Theater two winters before. The Village Voice (Deborah Jowitt) deemed it an "exciting production," praising it as a "full-blooded drama that deals with traditional Kabuki themes of idealism and what corrupts and undermines it, of dishonor and lessons learned." The review praised the acting as splendid and lamented the shortness of the run, five performances. During both previous productions and now, Kiyama Productions' NY tours have been limited due to funding difficulties.
日本を代表する不条理劇作家が描く、理念なき時代への危険なシグナル 謎の自殺、死刑囚、そして管理社会のカーニバル・・ 作品に隠された多くのシンボリズムは、あなたの目にはどう映るだろうか
平成18年度文化庁国際芸術支援事業木山事務所主催「赤い鳥の居る風景」（英題：”A Scene with A Red Bird”）作・別役実 演出・K.KIYAMA 日時: 2006年10月13日（金）& 14日（土）午後8時、15日（日）午後3時会場: American Theatre of Actors 314 West 54th Street (bet.8&9Ave.), NYC チケット: $30 ／一般 (団体割引があるようなので20%オフ、行ける方は言って下さい。一緒に行きましょう！）$20／学生（要ID）・シニア（65歳以上） SmartTixでオンライン購入（下記のアドレス）もしくは、212-868-4444（英語） http://
***********************************************************************
ストーリー「盲目の女」の目に映る危険な風景争いもなく、事なかれと時間が過ぎてゆく、とある町。盲目の女とその弟を残して謎の自殺を遂げた両親の葬儀の真っ最中、一人の旅行者が現れる。両親に対し金を貸していたという旅行者は、彼らの死因を調査していた委員会により、奇妙なカーニバルが開催される町へと連行される・・・。一方、両親の借金を背負う決意をした姉弟に、心優しく接する町の人々。しかし、次第に浮き彫りになる思惑と距離感。そして、『社会から脱落した人間』が引き起こす悲劇・・・。淡々と流れる対話、存在感溢れる光と陰、そして劇中に隠された多くのシンボリズム・・登場人物の人間関係を推理劇風に追いながら、平和で穏やかな風景のウラに潜む危険を描いた、別役実、２９歳時の傑作！別役実 西にベケット、東には別役： 日本を代表する不条理劇作家別役実は、戦後日本の現代演劇を支えた前衛芝居の先駆者である。１９６７年、「マッチ売りの少女」と「赤い鳥の居る風景」で第１３回岸田國士戯曲賞を受賞。別役２９歳の若さで書き下した作品である。以来、他の追随を許さない対話術とユーモアのセンスで、現代社会のシステムを鋭く批評する。６０年代、三島由紀夫が政治的極右として有名である一方、極左として位置づけられたのが別役であった。若い時にイヨネスコやべケットから多大なる影響を受けた別役実は、現在の日本を代表する不条理劇作家であり、また日本演劇のクオリティを保ち続けてきた中核的存在である。演出家・K. KIYAMA 別役をこよなく愛する舞台人：東京の演劇界を守り続けてきた男木山事務所の代表であり、別役実の作品を数多くプロデュースしてきた木山潔が、K.KIYAMAの名前で２００４年３月に演出家デビューしたのが、この「赤い鳥の居る風景」である。別役の世界を斬新な演出で読み解き、０５年１２月ソウル公演にて大絶賛を受ける。NY公演の直前である０６年９月に東京の新国立劇場にて、同公演を行う。木山事務所 NY Times、The Village Voiceが絶賛！１９８０年に劇作家の別役実、山崎正和、演出家の末木利文、俳優の中村伸郎らの協力のもとに、演劇プロデューサーの木山潔を代表として創立。日本演劇の良質な伝統を引き継ぎながら、現代演劇の新たなリアリズムの探求を目指している。日本の代表的な劇作家の諸作品に加え、シェイクスピアやチェーホフ等の古典や欧米の現代戯曲、ミュージカルをレパートリーとして持ち、劇団制とプロデューサーシステムの併用という、日本では例のないユニークな方法で上演を続けている。文化庁芸術祭大賞、紀伊国屋演劇賞、スポーツニッポン新聞芸術大賞優秀賞など、多数の受賞歴があり、ここ数年は毎年海外公演を行っている。ニューヨークでは、過去に２回公演を行い、様々なプレスから素晴らしい賞賛と短期公演を惜しむ声を得ている。９９年１月、The Kaye Playhouseにてミュージカル「はだしのゲン」（原作・中沢啓治、米題：「Gen」）を上演。 広島での被爆体験を描いた自叙伝漫画の舞台化は、大きな話題を呼んだ。ニューヨークタイムズ紙（Lawrence Van Gelder記者）は、次のように評している。「素晴らしい演技の俳優たち、舞台に引き込まれる観客、そして感動と恐怖をもって訴える平和への切実な願い。５ステージという短期間にも関わらず、非常に印象深い作品である」。また、同紙は「シカゴでの大雪で、セット、小道具、衣装が届かなかったにも関わらず、力強く魅力溢れるステージだった」とも綴っている。この２年前の９７年には、La MaMa’s Annex Theaterにて、シェイクスピア演劇に取り組む１９世紀の歌舞伎一座の四苦八苦を滑稽に描いた、「仮名手本ハムレット」（作・堤春恵）を上演。The Village Voice（Deborah Jowitt記者）によると、「エキサイティングな作品である。伝統芸能である歌舞伎をテーマに、理想主義と崩れ衰えるもの、不名誉とそこから学び得る教訓を描いた冷血ドラマである」。
NY Premiere for Leading Absurdist of the Japanese Stage Minoru Betsuyaku, "Japanese Beckett", Is just about to be introduced.. Please do not wait for NY Times review..because, Three Performances ONLY!!
Brilliant Structure of the Dialogues, A stage-full of Metaphors, and Amazing Actors from Tokyo on the table of this Award-winning play. Come taste ?The Theatrical Feast? this fall!
Kishida Award Winning Play (Equivalent to the American Tony) KIYAMA THEATRE PRODUCTIONS Presents A Scene with A Red Bird Written by Minoru Betsuyaku Directed by K. KIYAMA WHERE AND WHEN: Friday, Oct. 13 at 8:00 PM Saturday, Oct. 14 at 8:00 PM Sunday, Oct. 15 at 3:00 pm American Theater of Actors 314 West 54 Street (bet.8&9Ave.), NYC General Admission: $30 Students & Seniors: $20 (ID Required at door) Purchase tickets before September 30, 2006 for $5 discount. Box office: SMARTTIX http://
*********************************************************************************
The Story, The Background. and The Metaphors Post-war pain lasts a lifetime. Disturbance is a crime. A fable that depicts Japan's civil society after World War II. The story centers around a blind woman and her younger brother, who decide to work off their parents' debt after their suicide but are suppressed by a committee which had been formed to investigate the parents' suicides. The woman's devotion to the debt brings anxiety to the townspeople who hope for nothing but a quiet, undisturbed life. This makes her a "red bird" -- a symbol of danger or a red light to a society that is unable to face its collective guilt. The play begins with a funeral scene after the suicide of the parents. A Traveler appears at the funeral who claims to have loaned money to the parents. He is questioned by a Man from the Committee. The Blind Woman recalls the day that Traveler visited their house: her parents were acting extremely awkwardly, while the Traveler should have been treated as a honored guest. Blind Woman, her Brother and the town people visit a town where the committee is holding a carnival and the population is marched around in ridiculous rituals, wearing conical hats. (The play was written in the late '60s, when the quality of life for the Japanese was improving, but issues of a "controlled society" started to be argued.) There the traveler has been arrested and tells of his lonely life story: he started his money lending business because he wanted to be close to people. He offers to dissolve the Parents' debt if the blind woman will marry him. The Blind Woman rejects the offer and chooses to work off the debt. The Brother, finding himself unable to work, becomes a thief and murderer and dies in a jailbreak attempt. Upon losing her younger brother, the Blind Woman declares in her final statement, "Even if I can only eat half as much, I'm going to pay back the debt. I think that, the important thing is not that I pay off the debt, but I keep paying back . . ." The metaphors of this plot are not immediately obvious. The debt symbolizes what the society of Japan owes to Korea for crimes during World War II. The Blind Woman and her brother symbolize youth, which can accept the obligation to work for forgiveness. The committee represents society at large, for whom moral issues fall away in times of prosperity. The parents are the Japanese people, whose awkwardness with a guest in their house stands for Japanese society's awkwardness with foreigners. The play was presented in Seoul as part of a series of plays commemorating the Japan-Korea Friendship Year 2005. Japanese theater critic Eisuke Shichiji wrote, "Over forty years ago, Betsuyaku had shown the fear of the post-war society that failed to take responsibility. Then I understood why Mr. Kiyama chose this piece to present in Korea." Meet Japan's leading absurdist, Minoru Betsuyaku "The far left-Playwright as thinker" Minoru Betsuyaku is a driving force behind postwar contemporary drama, who pioneered underground theater in Japan. He has been regarded as a leading "playwright as thinker" and social critic since the late '60s, when he won the Kishida Kunio award (equivalent to the American Tony) for "Matchiuri no shojo" and "Akai tori no iru fukei" in 1968. While Yukio Mishima was notorious for identifying with the far right in Japanese politics in the '60s, Betsuyaku was almost as notorious for helping to define the far left. In his early career, Betsuyaku was much inspired by Ionesco and Beckett, to whom he is frequently compared. He is Japan's leading playwright of the Theater of the Absurd. Betsuyaku's works have been recognized for the brilliant structure of dialogue and unique sense of humor, which boldly criticize modern society. "A Scene With A Red Bird" won the 13th annual Kishida award in 1967, when Betsuyaku was 29 years old. It is one of his early masterpieces, yet it is seldom staged. Betsuyaku's plays deal with man's larger problems--his own being and his relationship to the cosmos. Titles include "Soshite dare mo inakunatta" ("And Then There Were None"), which uses the plot and the characters of Agatha Christie's "Ten Little Indians" but sets the action in the world of Beckett's "Waiting for Godot," and executes each "little Indian" for something he does after he dies. Among his other plays that may be accessible to Americans are "The Little Match Girl," based on the Hans Christian Andersen story, and "I'm Not Her," a simple play posing a mating problem that is as likely to arise in Topeka as Tokyo. These have been translated by Robert N. Lawson of Washburn University in Topeka,KS but to-date, no plays by Betsuyaku have been produced in New York. Meet the Director, K. KIYAMA K. KIYAMA (director) is the artistic name of Kiyoshi Kiyama, the Japanese producer who, as an enthusiastic fan of Betsuyaku, has produced his plays numerous times. Kiyama made his directing debut with the masterpiece "A Scene With A Red Bird" in March, 2004 under the name "K. KIYAMA," receiving highly favorable reviews for productions in Tokyo and Seoul, Korea (December `05). This September, the production will have a four-week run at Shin-Kokuritsu Theater, Tokyo. KIYAMA THEATRE PRODUCTIONS Reviewed by NY Times and Village Voice Kiyama Theatre Productions was founded in 1980, by Kiyoshi Kiyama and notable Japanese theater personages including Minoru Betsuyaku, Masakazu Yamazaki, Toshifumi Sueki and Noburo Nakamura. Its award-winning productions have toured internationally, including "Kanadehon Hamlet" by Harue Tsutsumi, a backstage comedy in which a 19th century kabuki troupe?s attempt to stage Shakespeare becomes a director?s nightmare (New York-La MaMa, 1997; London and Moscow); "Gen" by Keiji Nakazawa, an autobiographical musical built around the atomic bombing of Hiroshima, (1999 New York-Kaye Playhouse, Seoul, and Poland) and "Sentaku" by Harue Tsutsumi, based on the trial of a third-generation, Japan-born Korean pianist who refused to be fingerprinted at the airport and was not allowed to enter Japan (2005, Kinpo, Japan and Seoul). The company's mission is to protect the quality of traditional Japanese theater, and to search for the new realism in modern theater. Its main repertoire is works by Japan's legendary playwrights, but includes some works include plays by Shakespeare and Checkhov and some modern plays and musicals. The company's reviews in New York to-date have been most flattering, but the short runs have left the reviewers cryin' for more. The New York Times (Lawrence Van Gelder), reviewing "Gen" during its "brief but meritorious five-performance run" in 1999, called it an "engrossing, well-acted, touching and horrific plea for peace" which was "powerful and intriguing despite the absence of the production's normal sets, costumes and props, stranded by snow in Chicago." "Kanadehon Hamlet," unvexed by blizzards, had a lush production in La MaMa's Annex Theater two winters before. The Village Voice (Deborah Jowitt) deemed it an "exciting production," praising it as a "full-blooded drama that deals with traditional Kabuki themes of idealism and what corrupts and undermines it, of dishonor and lessons learned." The review praised the acting as splendid and lamented the shortness of the run, five performances. During both previous productions and now, Kiyama Productions' NY tours have been limited due to funding difficulties.
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