Performed in Japanese with brief thematic narrations and projected translations in English, Amaterasu Za’s world premiere of Okuni: The Woman Who Created Kabuki at NYC’s Theatre Row traces the real-life story of the boundary-breaking dancer who defied societal norms and traditional gender roles and, during the early Edo period in 1603, devised one of her culture’s most iconic forms of theater for an all-female troupe, playing both male and female parts. Written, directed, and choreographed by Ako Dachs, who also stars in the titular role of Izumo no Okuni (born ca. 1578), the show presents an authentic combination of live music and song, stylized movement and dance, dialogue and enactments, to follow her journey and to honor her enduring 400-year legacy. Ako. Photo by Russ Rowland. The slow-paced expository production, punctuated with information about the most momentous historical events and leaders of the time in Japan, takes us through a chronological sequence of biographical segments, from Okuni’s loss of her parents in a flood at the age of seven, through her service as a shrine maiden, emergence as an acclaimed dancer appearing before some of the most notable figures in her land (being named “Best in the World” by the government), and development of the widely successful and readily comprehensible Kabuki, to the shogun’s official ban, in 1629, on women performing the new theatrical form due to concerns about morality, prostitution, and the exploitation of it by brothel owners, thereby making it a male-only art – then, soon after, also prohibiting young men from performing (over the same moral issues) and permitting only mature males to be Kabuki artists. It closes with Okuni in her later years, in which, despite the hardships she faced, she poetically professes her love of dance and joyfully affirms it as the purpose of her life. Ako. Photo by Russ Rowland. Ako transitions from her character’s childhood to old age with changes in her voice and demeanor, age-defining wigs and kanzashi hair sticks and accessories (by Mitsuteru Okuyama) and an array of traditional Japanese costumes and kimonos (design by Ako) – sometimes switching behind the scenes and sometimes in full view, aided on stage by dressers in unobtrusive black, with black veils covering their faces. She is joined by Yasushi Kimura, appearing as the different men who had a significant impact on Okuni’s life and art, loving her, praising her talents, mentoring her, contributing to the creation of Kabuki, and performing dances and theatrical acts with her. Both actors employ such customary props as swords, poles, masks, jewelry, and fans, move around the minimalist set (by Josh Dachs), with a simple wooden cart, small low platform, and portable stage curtain, and occasionally enter from the back of the house and through the aisles (in typical Kabuki style), illuminated by dramatic spotlighting (by Aaron Bowersox). Yasushi Kimura and Ako. Photo by Russ Rowland. Contributing immeasurably to the tone and quality of the production is master musician Fumi Tanakadate, creating an expressive soundscape live on stage with flute, bell, and drums that enhance the moods of the piece and its historical authenticity with flawless timing, focus, and feeling (original compositions by Tanakadate and Ako), in a transporting sound design (by Chad Raines) that also features voiceovers by Ako and the noise of the rushing waters that took the lives of Okuni’s parents. Projections (by Cinthia Chen), on a large screen that forms the back wall of the stage, serve to identify the locales, dates, and events with artworks of the period, translations of the sung and spoken words in English (and those in English to Japanese), and videos of multiple figures of Ako as Okuni dancing along with her live self. Fumi Tanakadate, Ako, and Yasushi Kimura. Photo by Russ Rowland. In addition to the in-character portrayals are moments of direct address and audience interaction, as Ako teaches us the chorus of a song and encourages us to move and sing along in Japanese, further immersing us in the show, the era, and the culture, in keeping with Amaterasu Za’s mission of bringing bi-lingual productions to English- and Japanese-speaking theatergoers, with the goal of generating greater access and understanding. She not only does that with Okuni, but also reminds us of the often-marginalized contributions of women to art and society in this informative homage to her. Running Time: Approximately 85 minutes, without intermission. Okuni: The Woman Who Created Kabuki plays through Saturday, November 23, 2024, at Amaterasu Za, performing at Theatre Row, 410 West 42nd Street, NYC. For tickets (priced at $60-80, including fees), go online.