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2007 July 19, Charles Isherwood, “Guilty Pleasures of Comic Kabuki”, in The New York Times, →ISSN:
Despite its self-consciously assumed irreverence toward traditional practices, “Hokaibo” incorporates all the essential elements of classic Kabuki: the all-male company of actors, exaggerated makeup, the stomping dances, the arresting, cross-eyed poses at moments of high drama that are recognized and applauded.
2023 June 27, AFP, “Japanese kabuki actor arrested for allegedly assisting in his mother’s suicide”, in The Guardian, →ISSN:
Ichikawa, whose real name is Takahiko Kinoshi, made his kabuki debut in 1980 and went on to become one of the country’s most renowned performers.
2005 June 12, Michael Kinsley, “No Smoking Gun”, in Washington Post:
The whole "weapons of mass destruction" concern was phony from the start, and the drama about inspections was just kabuki: going through the motions.
2010 March 14, Jon Lackman, “It’s Time To Retire Kabuki: The word doesn’t mean what pundits think it does”, in Slate:
Health care reform recently brought Kabuki to mind for both Rush Limbaugh—“what you have here is ‘Kabuki theater’”—and New York Times columnist Frank Rich: “[I]f I were to place an incautious bet on which political event will prove the most significant of February 2010, I wouldn’t choose the kabuki health care summit.”
2020 January 29, Dan Brooks, “Comedy Written for the Machines”, in New York Times Magazine:
The boy tells her she will find iPhone chargers if she takes five steps back. Here the performance shifts from mere stiltedness to a kind of hateful Kabuki, an affected defiance of how people naturally act: She walks backward, counting her steps, then turns and slaps her forehead.
