Ⅰ. Futatsu Chōchō Kuruwa Nikki (Hikimado)
Ⅱ. Omatsuri
Ⅲ. Fuku Kanau Kami no Koibana

Ⅰ. Futatsu Chōchō Kuruwa Nikki (Hikimado)
　The eighth act of Futatsu Chōchō Kuruwa Nikki (A Diary of Two Butterflies in the Pleasure Quarters; known commonly as Hikimado), a play that was originally written for puppet theater and subsequently reworked and first performed as a kabuki play in nine acts in 1750, is a masterpiece of drama revolving around the theme of familial love.
　Nan Yohei, who lives in the village of Yahata on the outskirts of Kyoto, is appointed as a local magistrate. He takes the name Nanpo Jujibe, and is assigned the task of finding the culprit of the murder of two samurai. The wanted man is none other than the popular sumo wrestler Nuregami Chogoro, the biological son of Jujibe’s stepmother, Oko, who gave him up for adoption. A human drama unfolds between the four characters of Jujibe, his wife Ohaya, Oko, and Chogoro, as they reflect on their respective positions and feelings.

Ⅱ. Omatsuri
　Omatsuri (The Festival), a popular dance first performed in 1826, evokes the stylish and refined atmosphere of Edo. Set at the Sanno Festival at Sanno Hie Shrine in Akasaka, the dance tells the story of a dashing head fireman who appears in the bustling streets of Edo during the festival, tipsy and in high spirits, and begins to dance. The highlight of the dance is a scene in which the fireman attempts to woo a woman by boasting about his love life. The work vividly depicts the festive atmosphere of Edo and the excitement of summer, with the characters singing dodoitsu (rhythmic poetry), playing a variant of rock-scissors-paper, and showing off their physical prowess.

Ⅲ. Fuku Kanau Kami no Koiba
　Fuku Kanau Kami no Koibana (Love Story of the God Who Brings Happiness) is a new kabuki play based on the Kamigata Rakugo story Binbō Gami (The God of Poverty). It was first performed to great acclaim in May last year at the Kabukicho Grand Kabuki in Shinjuku, Tokyo.
　Tatsugoro, a work-shy carpenter who lives in a rear tenement in Edo, is so lazy that even his younger sister, Omitsu, has lost patience with him. One day, Obin, goddess of poverty who absorbs the power of humans working hard and turns it into nourishment, appears before Tatsugoro. Obin, who can’t help but like Tatsugoro’s easy-going personality, ends up lending him some money. A fellow god warns Obin that she is being too kind for a goddess of poverty, but she refuses to listen and starts working as a live-in maid at Tatsugoro’s house. Obin works hard out of her love for Tatsugoro, but a certain incident causes her to fall out of love with him and she decides to leave him... This is a heart-warming story that vividly depicts lovable characters with rich personalities. The back-and-forth between Obin and Tatsugoro, as well as the outcome of their romance, are also highlights.

Ⅰ. Sugawara Denju Tenarai Kagami: Michiyuki Kotoba no Amaikai
Ⅱ. Kaidan Chibusa no Enoki

Ⅰ. Sugawara Denju Tenarai Kagami: Michiyuki Kotoba no Amaikai
　Sugawara Denju Tenarai Kagami (Sugawara and the Secrets of Calligraphy), first performed in 1746, is a masterpiece that was originally written for puppet theater and subsequently reworked as a kabuki play about the tragic fate of Sugawara Michizane, who was exiled to northern Kyushu on false charges. The dance that forms the second part of this five-part work is called Michiyuki Kotoba no Amaikai (The Travel Dance of the Sweet Talking Candy Peddler of Love), and this is the first time it has been performed in 59 years.
　Kariya-hime, the adopted daughter of Kan Shojo, is in love with the Emperor’s younger brother, Tokiyo-no-kimi. Sakuramaru, a servant, disguises himself as a candy peddler and escorts Tokiyo-no-kimi and Kariya-hime, who have fled from their secret meeting place on the banks of the Kamo River in Kyoto, to Haji-no-sato village in Osaka, where Kariya-hime’s biological mother, Kakuju, lives.

Ⅱ. Kaidan Chibusa no Enoki
　Kaidan Chibusa no Enoki (Ghost of Chibusa Enoki) is a ghost story based on a rakugo performance by San’yutei Encho, a rakugo storyteller who was active from the end of the Edo period to the Meiji period.
　Artist Hishikawa Shigenobu has a beautiful wife, Oseki, and a baby boy, Mayotaro. A ronin named Isogai Namie, who happens to fall in love with Oseki at first sight, becomes Shigenobu’s apprentice and preys on Oseki while Shigenobu is away. He also gives money to the unscrupulous Uwabami no Sanji, threatens the household servant Shosuke, and then murders Shigenobu. Namie, who has concealed his evil deeds and married Oseki, now tries to get rid of Mayotaro... This work is packed with the unique plots and charms of kabuki. One highlight is the quick changes of character the actor needs to make to play three different roles: the refined Shigenobu, the honest Shosuke, and the villainous Uwabami no Sanji, who does not appear in the original story. This can be seen in the climax of the play, a fight scene in a waterfall basin, when the actor swiftly changes between the roles of Sanji and Shosuke. With its compelling power and entertainment value that has inherited the spirit of its predecessor, this is the long-awaited first performance of this play at Hakataza.