This paper reconsiders Ninagawa’s direction from a<br />
global/local perspective with a special focus on several last works directed by him: Richard II, performed by young<br />
players of the Saitama Next Theater in February 2012, which was especially intended for the local Japanese<br />
audience; Ninagawa Macbeth, which was performed in September 2015 and was a revival of the director’s<br />
internationally-acclaimed production, first performed in Japan in 1980 and abroad in 1985 onwards; and Two<br />
Gentlemen of Verona, the thirty-first in his series of Shakespeare plays and seventh in his series of Shakespeare<br />
plays with all-male casts, in October 2015. His last plays were not as perfect as he was still experimenting. This<br />
paper concludes, however, that while possessed by the power of theater, his direction emits its magical and<br />
subversive power and suggestion to give the audience vital energy to live in this world of tough conflicts. He<br />
continued to hope to make global and local spectators wonder at the plays he directed.