To adapt a classic work in any performative art is an exercise in historiography. How you choose to color the text as you perform it can easily imply your personal experience and what is a harder truth to perform, in a way indicating what a classic means to a current generation of artists and viewers. As someone who has adapted local classic works, i can empathize with the desire to create something inline with the style that often times has the largest and most extensive catalogue for study and review. So i can atleast guess the common criticisms that'll come with attempting to make a pseudo classic. Uninspiring and overly masturbatory in its desire to stand next to a classic while only understanding the surface level of what a classic is at its core, a story about one-self is the core of every performed story but it is the not the goal of creating a performed art. The depth of how it speaks to you is not the depth nor degree which you want to impart to your viewers or future readers, what he made is important to him, but not of equal importance to the audience. It is inherently selfish in how it lacks longevity as a narrative that solely focuses on performance and self-actualization, perfectly describing Karashi and his relationship to Rakugo, wholly pointless to the audience apart from how entertaining the story is. If you make a story and perform it in a classic competition it ought to be judged as a script and not just a performance, while the performance was written to have decent rapport. The script is wholly lacking and gives the impression that Karashi simply refused to look deeply into other available classics that wouldve fit the mold of his personal story, depriving the audience of a performance that couldve resonated with them more so than himself, instead choosing to self-mythologize his own story (probably not intentionally, but unable to be anything else given how he went about it)