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On July 19, 2024, the Yanai Initiative hosted a unique event: a series of Noh performances that included Blue Moon over Memphis, a play that features the King of Rock and Roll Elvis Presley, at Waseda University’s Okuma Auditorium. The auditorium was filled to capacity with people from various backgrounds, eagerly anticipating an evening of extraordinary storytelling. 

Setting the Stage

The stage was complemented with a traditional pine tree painted in the background and three pine trees in front providing a depth in perspective, transporting the audience immediately into the world of Noh. The entrance of the 8-member chorus set the program’s atmosphere, followed by the drum and flute players, setting a unique mood. The diverse cast included performers from various ethnicities, both in the chorus and among the musicians. A female performer soon graced the stage, captivating the audience with her swift steps, clear voice, and dynamic movements with a golden fan. This initial segment, Takasago, depicted the tale of two Aioi pine spirits and their joyful life followed by an encounter with and blessing from the God Sumiyoshi. The first performance was presented in Japanese, establishing the traditional context and ambiance for the whole night. 

A Comedic Kyogen Performance: Fukuro 

The program continued with a comedic Kyogen performance, which stood out as one of the evening’s highlights for me. Performed in English but retaining traditional Japanese recitations, it allowed non-Japanese speakers to fully appreciate the humor and artistry of Kyogen. The story revolves around a priest summoned to exorcise an owl spirit from a man’s brother, only to end with the priest himself being possessed by the owl spirit. The actors skillfully conveyed the changes in scenery and movement, maintaining the essence of Japanese Kyogen culture, and earning much laughter and applause. 

Elvis is in the Building 

After an intermission, the main story, Blue Moon over Memphis, began. It followed Judy, a devoted Elvis Presley fan, on her pilgrimage to Elvis’s grave. As she arrived at the grounds, Oscar, the groundskeeper, initially dismissed her as just another fan, one of the thousands there. Oscar’s character, dressed in a cap and flannel-like costume, cleverly fused American and Japanese cultural elements.  Later, a fellow Elvis admirer eventually acknowledged her genuine passion and granted her access to Elvis’ grave. The fellow fan, wearing a mask and fedora, performed with nods to Elvis’s singing and dancing with his passionate electric guitar and microphone poses. 

The play offered multiple perspectives on Elvis’s life, touching on his cultural influences and the origins of the singer’s style. It highlighted the complex legacy of Elvis, acknowledging his inspiration from black culture and his lack of original song writing. Oscar’s envy starkly contrasted with the admiration and passion of Judy and the other fans. 

The performance incorporated Elvis Presley’s songs in a Japanese chorus style, creating a mystical effect that transported his music to early Japan. As the story progressed, Elvis himself appeared, summoned by Judy’s singing. His elaborate costume and grand presence gave him a god-like aura. Through his movements and dialogue, Elvis conveyed the emptiness behind his fame, revealing a path of dreams and loneliness both in life and death. His melancholy resonated deeply as he reflected on the hollowness of his material successes. 

Blue Moon over Memphis provided English speakers with an accessible introduction to Japanese Noh theatre, blending a modern topic with traditional artistry. The performance was a masterful and seamless fusion, inviting everyone into the world of Noh. 

 
This article was written by the following Student Contributor 
Cassandra Raymundo
School of International Liberal Studies