When a company of Japanese actors under the leadership of Manzaburo UMEWAKA* presented some noh plays at the Aldwych Theatre in 1967 as part of the World Theatre Season, a good many British critics confessed themselves to be more than a little baffled. Opinions ranged from one reviewer's: ‘Noh is stylised to the point of static incomprehensibility’ to Philip Hope-Wallace's guarded appreciation: ‘The sound which prevails is curious; wailing and hooting noises like owls with indigestion. But the combination of strange noises and slow, potent, intense movement adds up to some very exotic and memorable poetry; to those (so to speak) in the know, it must be a lifetime's experience.’ To Irving Wardle the cultural barrier was impenetrable. ‘I found the performance totally alien: a blank cheque with no doubt centuries of artistic credit behind it, but which might equally almost have been staged as a hoax on the cultural community… I doubt whether any such vision can be transmitted without a shared language…’ Even critics anxious to enter into the spirit of this, to them, wholly new experience admitted that they found it hard going. W. A. Darlington wrote, ‘The plays were performed by a company trained from childhood to a stylised form of art of which one cannot hope, without study, to appreciate the finer points.’