Reading the Kabuki Nenpyō (歌舞伎年表)

After years of listening to the experts talk about using the “Kabuki Nenpyō” (歌舞伎年表, Kabuki Chronology) to research information in yakusha-e, I decided that it was time that I got a copy. I had held back for ages because I do not read Japanese and of course this book is entirely in Japanese! Buying from Japan I managed to get a copy for £18 plus £50 shipping & import taxes, which is a great deal when you consider they often go for £130 plus the same in shipping etc.  

This book is actually a set of 8 volumes covering all kabuki performances up to Meiji40 (1907), listed in the order of their opening dates. The text is primarily the bare detail of dates, theatres, plays and some associated information about the performance. Other entries though detail significant events in the lives of the theatres, such as reopening dates and special commemorations and in these you can sometimes witness tantalising glimpses into the ordinary lives of the people who made kabuki. 

Reading a Japanese book

Japanese text is written from the top-right to the bottom-left on a page and books are read from the “back” to the “front”, in Western terms. However, this book is very logical and laid out very methodically so it should be easy enough for anyone to understand once you have worked out what the commonest elements mean. Let’s walk through a typical page:

Elements to look for:

  • The top half of each page covers Edo/Tokyo theatres, while the bottom half is Osaka and other theatres.
  • When mentioned, actors are known by their first name – such as “Danjūrō”
  • top-right: the year – in this case 明治四年, which reads 明治 (Meiji) 四 (4th) 年 (year). As the first year of Meiji was 1868 we can see this means 1871 … but to help us the year is written underneath it too as 一八七一 (1871).
  • bottom-right: the page number within this volume 一 七 二 (172)
  • each entry starts with “” and on this page the first entry reads:  “六月十二日より、中村座、「義士外傳復讐鑑」(あたうち) 十一段つゝき。大切、「生人形花洛名所」(はなのなどころ) 。富本、常わづ。場代直下ゲ。棧敷 百卅匁。高百廿二匁。平百十五匁。敷 物十五匁。”
    • the month and day 六月 十二日  (6th month, 12th day) より (from) with a Japanese comma that looks like a reverse one of ours
    • then the name of the theatre 中村座 (Nakamura-za)
    • then the name of the play in Japanese quotes 「義士外傳復讐鑑」(Google: ?Gishi-gai Tsutō fukushū kan?) with a hiragana shortened version (あたうち) (Atauchi) and then 十一段つゝき (11 steps / acts?) and a Japanese full-stop
    • 大切、(important? / main?) 「生人形花洛名所」(Google: ?Nama ningyō hana raku meisho?) (はなのなどころ) (Hana no Nadokoro) [this play name actually seems to translate to “Iki Ningyō Hana no Nadokoro” which was staged on the 6th month 1871 at the Nakamura-za, according to kabuki21]
    • The next parts are a mystery to me so far but I’m trying to work them out: 
      • 富本 
      • 常わづ  (usually?)
      • 場代直下ゲ 
      • 棧敷 百卅匁 (Sajiki) (family name) 百卅 (130) 匁 (monme)
      • 高 百廿二匁 (high/quantity/money) 百廿二 (122) 匁 (monme)
      • 平 百十五匁 (common/plain/low-rank) 百十五 (115) 匁 (monme)
      • 敷 物十五匁 (room size?)

So, in summary it’s very useful for finding out information about the theatres, dates of production and play names if you have a reasonably close date on the print or a vague date in the online references. There really is so much to learn about this amazing work so as I find out more about the meaning of the text I’ll add it here. 


After a few days of using the book you will probably not need this crib sheet because you’ll have learned the numbers off by heart but this table should get you started. 



























Major Edo/Tokyo theatres (座 = za = theatre)

  • 千歳座 Chitose-za
  • 深野座 Fukano-za / Fukono
  • 春木座 Haruki-za
  • 市村座 Ichimura-za (opens in 1623 as Murayamaza) to 1932 when it burned down
  • 歌舞伎座 Kabuki-za (1889-today)
  • 明治座 Meiji-za (opens as Kishôza 1873) to today
  • 守田座 Morita-za (1610-) that became the Shintomi-za (-1923 when it was destroyed by an earthquake)
  • 村山座 Murayama-za
  • 中村座 Nakamura-za
  • 新富座 Shintomi-za
  • Minor theatres:
    • 演伎座 Engi-za
    • 柳盛座 Ryūsei-za 
    • 眞砂座 Makotosuna-za
    • 常盤座 Tokiwa-za
    • 三崎座 Misaki-za
    • 吾妻座 Agatsuma-za
    • 開盛座 Kaisei-za 
    • 蔦座 Tsuta-za
    • 港座 Minato-za
    • 村山座 Murayama-za
    • 下田座 Shimoda-za

Late Edo / Meiji Periods

  • Bunsei (文政) April 1818 through December 1830
  • Tenpō (天保) December 1830 through December 1844
  • Kōka (弘化) December 1844 through February 1848
  • Kaei (嘉永) February 1848 through November 1854
  • Ansei (安政) November 1854 through March 1860
  • Man’en (万延) March 1860 through February 1861
  • Bunkyū (文久) March 1861 through March 1864
  • Genji (元治) March 1864 through April 1865
  • Keiō (慶応, historically 慶應) May 1865 to October 1868
  • Meiji (明治) October 23, 1868 to July 30, 1912
  • Taishō (大正) 30/07/1912 – 25/12/1926
  • Shōwa (昭和) 1926–1989

Other works

  • Yoshida, Teruji (ed.): Kabuki nendaiki (Chronicle of kabuki: 歌舞伎 年代記). Tokyo: Hōbunkan, 1926, p. 298. [3 volumes]

Worked example [WIP]

I’ve taken photos of the sections concerning March 1878 onwards and run them into Google Lens, which reads the text very accurately, allowing me to copy & paste it here. The translation is from Google Translate so it’s going to lack a lot of finesse and be wrong in places but it seems to make a fair attempt when the text is conversational – but less accurate when it is summarised phrases or play titles.   

三月廿一日より、新富座、「西南雲晴朝東風」(おきげのくもはらふあさごち) 。大切、「是珍聞猫根津美」。八人廻し。常わず、竹本連中。

From March 21st, Shintomi-za, “Southwest cloud clear morning easterly wind” (Okige no kumo harau Asagochi). Important, “This is the rare cat Netsumi.” Around eight people. Always the Takemoto guys.

[Click on the link to see my page on this play]


四月十三日、諸興行中演劇類似の區別を定む。當時、吾妻狂言、 今様、白拍子舞、道化踊、萬作踊等の諸興行場あり。動もすれば、 劇場を模擬し、往々錯雜のあるを以て今後興行場に櫓を作り、 廻り舞臺、或い臺臺を用ひ、花道を設け、引幕を張る之を劇場 類似と爲し、此五件を缺くものは否さるものと定む。此區別たる 幕政以來の慣例に因る所なりといふ(「社會事彙」)。

On April 13th, the theatrical category will be established among various performances. At that time, there were various performances such as Azuma Kyogen, Imayo, Shirabyoshi dance, Clown dance, and Mansaku dance. If you move, you will simulate a theatre, and in the future, because there is often confusion, you will build a tower in the performance hall, use a revolving stage or a stage, set up a runway, and put up a curtain. It is determined that those who fail in these five cases will be rejected. It is said that this is a separate area due to customs since the shogunate (“Social Issues”).

四月、奥田登美三郎改め市川壽三藏、重藏改め中村壽太郎、鶴 代改め坂東三津三。 片岡市藏上る。

In April, Tomisaburō Okuda was renamed Jusanzo Ichikawa, Juzo Nakamura was renamed Jutaro Nakamura, and Mitsuzo Bando was renamed Tsurudai. Kataoka City Kuranoeru.

六月七日、八日の兩日、新富座開場式。 劇場正面には、槻板に座名を市川萬庵の隷書にて記し、中央に同 じく三字を點ずる花瓦斯を掲げ、一面に紅白張分けの球燈を掲げ、 木戶入口は青竹手摺、國旗二本をつるし、守田氏定紋を染る旗 數十、東西運動庭の入口より、東西棧敷の客を、木戸より高と平 土間の客を通行せしむ。白黄紅三色の通劵にて之を區劃す。すべ て停車場に倣ひ、卿筒を場外左右に置て警戒す。

樂屋も前同様毬燈を掲げ、出入口に「楽屋出入一切表面木戶より の事」と大書して、出入を厳にす。附属茶屋合計十六軒、各定紋 のフラグと共に毬燈を吊し、仕切場、通常禮服、出方盲縞の單 衣、蒼の者は印天にて守備し、尚巡査の出張を乞ひて混雑に備ふ。 舞臺日は、守田定紋の大旗を掲げ、俳優の紋を染めた小旗東 西棧敷と同じく毬燈も場外と同じ。蛙股西洋飾り也。西の棧敷 は警視顯官、東は紳公華族、大向、紅白の段幕を張り詰め、花器 に花を活け、此處外國人、新聞記者、銀行社員倚座す。本舞臺 ハ八間一面に守田の紋の幕を垂れ、上手い陸軍樂隊、下手は海軍 樂隊なり。午後三時、海軍先づ奏し、陸軍之に次ぎ、兩像交々奏 して此の樂を借り、守田勘彌、黑通常禮服白襟飾りにて舞臺中央 に進み立禮。次に菊五郎、團十郎列席す。立役は燕尾服、女方は 羽折袴にて紫帽子、河竹は立方と同じく花柳は女形と同じ。但し 紫帽子なし。

On June 7th and 8th, the Shintomi-za opening ceremony was held. At the front of the theatre, the name of the theatre is written on a wooden board by Manan Ichikawa. Green bamboo railings, two national flags, and dozens of flags dyed with the Morita clan crest are allowed to pass through from the entrance of the East-West Sports Garden to visitors from the East and West Sajiki, and from above the wooden door to those on the flat floor. It is divided into three colours, white, yellow and red. Imitate all the stops and place the kyotsutsu on the left and right outside the venue to be vigilant.

As before, the Rakuya held up lanterns and wrote in large letters on the doorway, “All entrances and exits to the dressing room are from the wooden gate.” A total of 16 attached teahouses, hanging lanterns with flags of each standard crest, partitions, normal robes, single robes with stripes, and those in blue guarding at Inten, and requesting the dispatch of the police. Be prepared for congestion. On the day of the stage, a large flag with the crest of Morita was hoisted. Frogmata Western ornaments. In Sajiki in the west, there are police officers, and in the east, there are men and women of the nobility, Omukai, red and white banners, flowers in vases, and foreigners, newspaper reporters, and bank employees. A curtain with Morita’s crest hangs over the main stage. At 3:00 p.m., the navy played first, followed by the army, and both of them performed alternately to borrow this music. Kikugoro and Danjuro are next. Tachiyaku wears a tailcoat, onnagata wears a haori hakama and a purple hat, Kawatake is the same as Tatekata, and Hanayagi is the same as the onnagata. However, no purple hat.


  筆之助 半四郎  
  三筋 小紫  
  此 糸 条三郎  
  駒三郎 錦 松  
  牡久三郎 蝶 治  
  梅五郎 清十郎  
高五郞 門 藏 花柳壽 助
由 藏 吉 六 菊之助  
成 藏 荒次郎 勘 彌  
竹次郎 猿十郎 菊五郞  
鳩 藏 幸 升 團十郎  
鶴 作 團 八 左團  
三太郎 成右衛門 家 橘
幡右衛門   小團次  
  進 三 鶴 藏  
  繁 藏 仲 藏  
  金作 河竹新 七  


Seating order on stage

  Fudenosuke Hanshirō  
  Misuji ko murasaki  
  Itojo jō Saburō  
  koma Saburō Nishiki Matsu  
  osu Kyūzaburō chō Osamu  
  ume gorō sei jūrō  
?Takagoro Mon kura hanayagi hisashi Suke tsuchi (soil?)
Yū kura Yoshi roku Kikunosuke  
Nari kura ara jirō kan iya  
Takejirō Enjūrō Kikugorō  
Hato kura Kō masu Danjūrō  
tsuru-saku Dan hachi Sadanji  
Santarō Sei uemon ie Tachibana ma
Hata uemon   ko Dan-ji  
    Dan uemon  
  Susumu san Tsuru kura  
  Shige kura naka kura  
  Kinsaku Kawatake shin nana  


列席して終り、菊五郎は勘彌に代り、祝辭朗讀、次て團十郎の 祝辭朗讀。

間? (前略)夫演劇の事たるや固より一小末技にして敢て世上に 輕重する所なしと雖も、既に勸懲の微意を遊戯の間に寫し、人 情を感動せしむるに足る上、悲歡の扮粧は又焉んぞ世道に利 害なしとせんや。顧るに近時の劇風たる世俗の濁を汲み、鄙陋 の具を好む。彼の勸の妙理を失ひ徒らに狂奇にのみ是れ陥り、 其下流に趣く、蓋し此時より甚しきはなし。團十郎深く之を憂

After attending, Kikugoro read a congratulatory speech on behalf of Kansai, and then Danjuro read a congratulatory speech. Hazama (Omitted) As far as theatre is concerned, there is no place to dare to look down on the world as a little trick, but even so, it has already conveyed the subtleties of punishment during the play, and has impressed people. On top of that, the tragic disguise will no longer be of any interest to the world. In retrospect, he draws on the mundaneness of the modern theatrical style and prefers rustic ingredients. Losing his sense of decency, he fell into madness and fell into madness. Danjuro is deeply saddened by this

ひ、相與に謀りて、憤然此流弊を一洗せん事を冀ひ、前日の 觀を改むるの時に當りて、恰も此場に登るの喜びにあひ、將に 順く社主の望む所を體し、來觀の紳縉をして演劇もまた果して 無盆の戯れに非ずと云はしめ、永く此場をして明治の太平を粧 飾するに足らしむるを期すべし。玆に開場を祝して言を述ぶ。

菊五郎、團十郎二人の朗讀せし祝餅は共に日報社長福地源一郎の 作(筆)也。

二優の祝辭の後、前海軍大尉にて當時の演舌者堀龍太が袴羽折に [missing 1 hiragana] 舞の中央に座し、朗讀せり。其の要い、

今世間に芝居の利害得失、用不用を論する者甚多し。余輩を以 て見れば、兩説共に是なれども、未た其利害の所在を究めざる もの如し。蓋し芝居の働は舞臺にあらずして芝居に關係する 人に存するなり。其事に在らずして其事を取扱ふ人に存する也。 役者なり茶屋なり若者也。これを平均して上等社會の名を下 し難し。今後日本にて芝居を有盆無害なものと爲さんとならば、 唯これに關係する人の次第に上品に進むを待つのみ云々。(こ れは本年五月廿三日、三田演説會福澤先生の述べたる大意を 文章にせし也)。

菊五郎、團十郎二人の朗讀せし祝餅は共に日報社長福地源一郎の 作 (筆)也。了って一面立拜し、順序につれて退く。一面の幕切 落す。舞臺一面破風造り、能舞臺となり、臆病口より、翁(團十 郎) 三番叟(菊五郎) 千歳(左團次)ツレ(家橋)にて出る。 式 [missing 3 hiragana] 紅白の横筋段幕落す。片シヤギリになり、長唄囃子連中揃 衣袴にて、唄(松永庄五郎) 三絃(杵屋正次郎)等十人居列ぶ。

I decided to clean up this misconduct in a joint plan, and when I had a change of scenery the day before, I felt the joy of climbing here. Take the place you want, and let the visitors know that theatre is nothing more than a playful play, and hope that you will stay here for a long time to decorate the peace of the Meiji era. . In celebration of the opening of the hall, he said a few words. The celebratory rice cakes read by Kikugoro and Danjuro were both made by Genichiro Fukuchi, the president of the daily newspaper. After the congratulatory speech of the second prize, Ryuta Hori, a former navy captain and speaker at the time, wore a hakama.

Sit in the centre of the dance and read aloud. That is why there are many people in the world today who argue about the advantages and disadvantages of theatre. Looking at it from my point of view, even though both theories are correct, it’s like him who hasn’t yet figured out where his interests lie. After all, the function of theatre lies not in the stage, but in the people involved in the theatre. It’s not about that thing, it’s about the person who handles it. Actors, teahouses and youths. It is difficult to put the name of a high-class society on average. From now on, if I want to play in Japan as a safe and harmless one, I can only wait for the people involved in this to progress gracefully. (This is based on the gist of what Mr. Fukuzawa said at the Mita Speech on May 23, 2009). The celebratory rice cakes read by Kikugoro and Danjuro were both made by Genichiro Fukuchi, president of the daily newspaper. When finished, stand up and retreat in order. One side curtain cut off. The stage is made of gables on one side, and becomes a Noh stage, and exits from the Dorimokuchi at Okina (Danjuro), Sambaso (Kikugoro), Chitose (Sadanji), and Tsure (Iebashi). formula

The red and white horizontal streaks fall. It becomes a katashiyagiri, and there are 10 people, including the song (Shōgoro Matsunaga) and the sangen (Shojiro Kineya), all dressed in kimono and hakama.

暫くして唄淨るりになり、花道左右より半四郎、仲藏、小紫、 粂三郎、菊之助、梅五郎、喜知六、荒次郎、鶴藏(以上本花道)、 家橘、小團次、繁松、蝶治、仲太郎、門藏、猿十郎、幸升、團右 衞門(以上假花道)、皆元祿風の丹前踊、手振り暫時して皆上手 へ繰込む。囃子止む。

時に伐に瓦斯燈の點して看客驚くばかり也。幕切落す。 元の能 かりにて三本の牡丹を据付け、長唄囃子連中出囃す。團十郎、 菊五郎、左團次、赤毛を振り出づ。曲了つて陸軍合奏す。 今回改正の諸件。

場外表櫓、釣看板(俗に招き)をし、大名題三尺看板七枚と 定む。淨るり看板、張り物、又附け物、すごみ等なし。場内は天 幕、水引幕、墨ベラ、下立役を廢す(役人觸、俗に口上呼び等す べて無し)。

附屬茶屋大中小を合せ、是まで四十二軒を此度十六軒とし、大 茶屋のみにて中小茶屋を廢す。間口五軒と定め、軒先團子提灯、 看板提灯、花ノレンをして總て槻板に其家號を記す(芝居鼠木 戸もノレン等なし)。

兩木戶、棧敷番、鼠木戶、木戸臺、同覆をし、出方木戶內に椅 座す(木戶番呼込、あたり等なし)。

新築劇場、間口十八間、奥行廿三間、坪數三百九十六坪、一萬五 千圓程の受負といふ。櫓釣看板を廃し、表面破風の下に守田の定 紋を金メッキにて打つ。古来、櫓は九尺四方もありて、之がため 屋根しば破損し、失費多きによって也と。 大芝居に櫓なきハ 之を始めとす。

釣看板明治十二年春より止む。馬車、荷車往來の妨になるよ り差止めらる。

After a while, the song begins to sing, and from the left and right of the hanamichi are Hanshiro, Nakazo, Komurasaki, Kume Saburo, Kikunosuke, Umegoro, Kithiroku, Arajiro, Tsuruzo (these are the main hanamichi), Iegachibana, Kodanji, and Shigematsu. , Choji, Nakataro, Monzo, Enjuro, Kosho, Danemon (all Kikamichi), and everyone perform a Tanzen dance in the style of Genji. Stop the music. At times, the spectators were amazed at the sight of the gas lights. Cut off the curtain. Three peonies are set up in the original Noh play, and the Nagauta-bayashi group performs. Danjuro, Kikugoro, Sadanji, red hair. After the song, the army ensemble. Various items to be revised this time. Outer Omote Yagura, fishing signboards (commonly called invitations), and 7 big name three-shaku signboards. There are no signboards, upholstery, attachments, or ugliness. Inside the hall, the tent, the mizuhiki curtain, the ink spatula, and the shitachiyaku are removed (there are no official calls, no formal calls, etc.). By combining large, medium, and small teahouses, we have increased the number of teahouses from 42 to 16. Five frontages are designated, and the name of the house is written on the tsukiki board with paper lanterns at the front of the eaves, signboard lanterns, and flower curtains (there are no screens for theatre rats, etc.). The two wooden gates, Sajikiban, Mouse wooden gate, and Kidodai are covered in the same way, and a chair is seated inside the exiting wooden gate (the wooden gate is called, and there is no perimeter). It is said to be a newly built theatre with a frontage of 18 ken, a depth of 23 ken, a tsubo area of ​​396 tsubo, and an area of ​​15,000 yen. The yagura signboard is abolished, and Morita’s crest is gilded under the gable on the surface. Since ancient times, the turret was nine feet square, and because of this, the roof was often damaged, and it cost a lot of money. Starting with the big play without a turret.

The fishing signboard ceased from the spring of Meiji 12. It is better to stop than to interfere with the traffic of carriages and carts.

Another example

九月十八日、歌舞伎座、團十郎一座、一番目「大久保彦左衛門」。 場割、序幕御書院番頭詰所の場、西湖の間の場、鈴木源左衞門浪 宅の場、二幕目刑部少輔内の場、水道橋堀端の場、三幕目大久保 彦左衞門邸の場、源左衞門内の場、四幕目湯島御殿の場、評定所 吟味の場、大詰槍獻上の場。中幕「咸陽宮」。「日向の景清」。 大 切、「滑稽花懺悔」。大久保彦左衛門、鈴木源左衛門、流人景清 (團 十郎) 三浦志摩守、三代将軍家光公、阿部四郎五郎、荊軻、白鼠 忠藏(權十郎) 高輪刑部少輔、後家古猫おとら(市藏)源左衞門 娘お類、小牧の局、花陽夫人、メ子屋娘おうさ (福助)若徒新作、 酒井對馬守、百姓佐治太夫、李斯、番頭狸の金八(壽美藏)松平 伊豆守、近藤登之助、米津筑前守、天野四郎常義、始皇、手代狐 紺太(新藏)阿部豐後守、久世三四郎、土岐信濃守、土屋郡内、 下男狢の默助(猿之助)中根修理亮、猿島左平太、趙士澤(翫太 郎)飯田金阿彌、米屋九郎兵衛、名古屋帯丹下、韓奇正(團八) 御坊主佳仙、刀屋庄兵衛、名古屋帯兵吾(團七) 御座敷坊主要齋、 古着屋次郎助、名古屋帶主水(升藏) 御坊主淸甫、名古屋帶五左 衞門(升六) 瀧川三次郎、篠掛新之助、秦舞陽(染五郎) 大川八 太夫、田舎の婆およね(幡谷) 井上敏五郎(しやこ六) 田舎者十 兵衛(壽美右衛門)御小姓梓、弓踊(九子丸改名團次郎)同(龜藏) 同(雷藏) 同 (蝠次郎) 土方佐兵衛 (鯉之助) 長屋女房おま つ、腰元きぬた(歌女之丞) 礎打女の童蝴蝶、 人丸 (實子) 女の 童扶伎子) こし元菊彌 (兒福) 同千種 (茘枝)同小しの(今江) 天野兵三郎、 こし元眞弓(玉七)。 〇September 18, Kabukiza, Danjuro troupe, the first “Okubo Hikozaemon“. Scene allocation, Prologue Goshoin clerk’s office, Saiko no Ma, Suzuki Genzaemon’s house, Second act Gyobu Shosuke, Suidobashi moat, Third act Hikozaemon Okubo’s residence The place of Genzaemon, the place of Yushima Goten in the fourth act, the place of examination, the place of Otsumeyari Shojo. Middle act “Kanyang Palace“. “Hyuga no Kagekiyo“. Important, “comic flower confession“. Hikozaemon Okubo, Genzaemon Suzuki, Ryujin Kagekiyo (Danjuro) Shimakami Miura, 3rd shogun Iemitsu, Abe Shirogoro, Jingke, White Nezumi ) Genzaemon daughter, Komaki no Tsubone, Mrs. Hanayo, Mekoya daughter Osa (Fukusuke) Wakato new work, Tsushimakami Sakai, Farmer Sajidayu, Risa, Banto Tanuki Kinpachi (Sumizo) Matsudaira Izu Mamoru, Kondo Tonosuke, Yonezu Chikuzen Mamoru, Amano Shiro Tsuneyoshi, the First Emperor, Tendai Kitsune Konta (Shinzo) Abe Yugo Mamoru, Kuze Sanshiro, Toki Shinano Mamoru, Tsuchiya District, and his servant Josuke ( Ennosuke) Surisuke Nakane, Saheita Sarushima, Kantaro Cho, Kinami Iida, Kurobe Yoneya, Tange Nagoya, Kisho Han (Danhachi) Gobozu Kasen, Shobei Toya, Obihego Nagoya (Dan 7) Zashikibo Main Sai, Secondhand Clothing Store Jirosuke, Nagoya Domain Main Water (Masuzo) Gobozu Shobo, Nagoya Domain Goza Enmon (Masuroku) Takigawa Sanjiro, Shinnosuke Shinokake, Hata Maiyo (Somegoro) Okawa Yatsudayu, Rural Woman Oyone (Hataya) Toshigoro Inoue (Siyako Roku) Countryman Jubei (Sumiemon) Okosho Azusa, Bow Dance (Kukomaru renamed Danjiro) Same as (Kurokuzo) Same (Raizou) (Jiro) Sahei Hijikata (Kinosuke) Nagaya’s wife Omatsu, Koshimoto Kinuta (Utajonojo) Foundation striker’s baby butterfly, Hitomaru (Jitsuko) Girl’s Dofu Kiko) Koshimoto Kikuya (Yofuku) The same Chikusa (Rome) and the same small Shino (Imae) Amano Heizaburo, Koshimoto Mayumi (Tamashichi).

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