With regard to the other theatre proprietors of Yedo, Miyako Dennai obtained permission to build a theatre in 1633, and the following year Murayama Matasaburo erected the Murayama-za. He was the younger brother of Murayama Matabei, the actor-manager of Kyoto. Both had come from Sakai, the old seaport near Osaka, which flourished greatly when it was opened to Western trade, and declined when the Tokugawa policy closed the country to foreign intercourse. Their father had been a retainer of the Ashikaga Shogunate, and was a follower of Nagoya Sansaburo. Yamamura Kobei was given permission to build the Yamamura-za. Kawarasaki Gonnosuke established the Kawarasaki-za in 1648. He was a Nō actor, but later went to Yedo from the provinces and started a theatre. Not only did the theatres increase in numbers in the three towns, but they spread to the provinces as well. The audiences received better accommodation, curtains and stage furniture began to be used. Theatres had been somewhat like side-shows, and the audience changed at the end of each performance, which continued indefinitely, but with improvements in all directions plays of several scenes began in all three theatre centres. It was in 1644, when the Wakashu Kabuki was in full swing, that another prohibition by the Government laid it low for the very same causes that had put Onna Kabuki out of existence. The charming young actors were responsible for moral abuses that undermined the Spartan code of the samurai. There was a scandal because of the relations between a daimyo’s wife and a young actor, and the Government, always on the alert to punish the sins and omissions of the theatre, ordered that the front hair of the Wakashu actors be shaved off. Shorn of their locks they no longer presented an attractive appearance, and as they had existed only to please through their persons their usefulness was gone. The prohibition of the Wakashu Kabuki was a blow at the luxurious and effeminate habits that were then indulged in by the samurai and aristocracy. Wakashu Kabuki had much to do with the spread of these habits, and to suppress them was then considered the only remedy against the social evil of the time. The prohibition of Wakashu Kabuki in Osaka and Kyoto differed from that of Yedo. A quarrel of two samurai over a young actor playing a female rôle took place in Yedo. The theatre was closed, and on this account the doors of all the other theatres were shut. As they did not reopen for long years, the actors were in dire distress. In Osaka the theatres were closed in 1656 because of a disturbance in the audience, but permission was given to continue the following year. The Kyoto theatres, however, went out of existence for twelve years, and it was only in 1668 that Murayama Matabei, Kyoto’s actor-manager, was allowed to restart.