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Suspension bridges made of mountain vines (kazurabashi) were the main means for people to cross the river of the Iya Valley in the past.
13 bridges once spanned the valley, but only three survive today. Iya Kazurabashi (祖谷かずら橋), the largest and most popular of the remaining bridges, stretches 45 meters across the Iya River at the center of the valley, and gives visitors an unsettling view of the water 14 meters below the open slats of the span. The bridge, which is rebuilt every three years, is anchored to tall cedar trees at both ends and has steel cables hidden within the vines for safety.
Source: www.japan-guide.com/e/e7828.html

Todd Haimes Theatre, New York
Rose Byrne and Kelli O’Hara are comic gems in a pitch-perfect revival that sparkles like champagne

Fallen Angels has appeared only twice on Broadway since its stateside premiere in 1927, two years after the lustful comedy’s London premiere cemented Noël Coward as England’s drawing room enfant terrible. A sort of proto-Godot where two society women drink themselves into a stupor waiting for an old lover to arrive while their husbands are away, it was nearly censored by the office of the Lord Chamberlain for its sexual frankness. (That kind of historical description usually indicates that perhaps someone showed some ankle). But 99 years later the play remains hilariously horny and startlingly modern, and Scott Ellis’s champagne cocktail of a revival has the exact right ingredients: complete faith in the material, drop-dead deluxe design, and the sugar-and-bubbles combination of Oscar-nominated actor Rose Byrne and stage veteran Kelli O’Hara.

The two are stars of elastic, compulsively watchable talent, and the unexpectedness of their pairing only serves their dynamic in this expert staging of Coward’s play, as their characters goad each other’s worst impulses on until they come into conflict with their own. Their performances work – brilliantly – in the converse, with Byrne’s knack for bawdiness and O’Hara’s born gentility swirling around to intoxicating effect.