Lounge
May 27, 2015
Keiko Toda | Musical 'The Hit Parade' is About to Open!!
Keiko Toda: Musical 'The Hit Parade' is Just Before Opening!!
No sooner had I savored the thrill and excitement of experiencing a drama by Taichi Yamada for the first time, than my schedule shifted to stage mode.
What's more, I'm tackling the musical 'The Hit Parade,' a show I myself admit to finding challenging for a revival, but it's packed with nostalgic hits. We delve into her struggles and her thoughts just before the curtain rises.
Compiled by Sora One
Grappling Fiercely with the Word 'Challenging'!
The revival of 'The Hit Parade' is entering its final rehearsal stages. On the first day of rehearsal, my words were 'Time is Money.' February is already a short month, and with the filming of 'A Miraculous Ordinary' that I mentioned last time overlapping, I truly felt there wasn't enough time to tackle a 'revival,' which I find difficult. Yes, I have a strong sense of unease about 'revivals.'
Analyzing myself, I believe the cause lies in my mental weakness. I tend to get stuck in the same ruts. And then I end up exhausting myself.
But facing art and creation while juggling various trivial problems, including those in daily life, is something everyone experiences. In that regard, I must admit I'm still only a 'semi-pro' mentally. A professional must be able to say, 'I can perform this with 100% brightness!' regardless of their mental state. There's no time for agitation (laughs).
Most recently, the revival tour of Nito-sha's production 'Men Who Want to Be Sung,' written and directed by Ai Nagai, was a situation where I confronted my difficulties. However, thanks to my co-stars, it turned into a wonderful experience. I was so impressed by Nagai-san's brilliance that it became a highly rewarding production for me.
So, I'm pushing myself every day, telling myself not to be negative. Your big sister is fighting! (laughs)
This particular work, in particular, is based on the couple Susumu and Misa Watanabe, who strove to deliver entertainment to many people as a profession, much like myself now. That's precisely why, in spirit, we must constantly strive forward, aiming higher, just as they did. If there's a wall in front of us, we must bravely climb it. But I tend to look down at my feet and wonder, 'Am I really climbing this?' It's a cycle I repeat daily.
To Accumulate 'Nourishment' That Seeps In Gradually
However, I also believe that such delicate work is precisely what's needed for a revival. You often hear statements like, 'It's a revival, so we're powering up!' Of course, I believe everyone's feelings and thoughts are valid, but I personally feel it's more important when tackling a revival not to just increase momentum or power, but to meticulously examine the details of the work.
The initial production is inevitably fresh, filled with the momentum to just open the curtain and a sparkling radiance. But there must be a simple, direct way to convey the charm of the work that can only be seen through repeated performances.
Discovering and embodying that is a nerve-wracking process, and it requires pushing oneself mentally and physically. It's a far higher hurdle than creating something from scratch. But I believe that reviving a work means overcoming that hurdle.
For example, this is a musical, but if we could approach the situations in each scene with the same intensity as a straight play, not just the songs, wouldn't that deliver even greater emotional impact to the audience?
Also, while the play is interspersed with many famous hit songs from the Showa era that everyone has heard, there are also many wonderful original songs by Akira Miyakawa. The power of hit songs is immense, but by not relying solely on them, and by singing in a way that deepens the connection with the original songs and enhances each other, the musical's appeal will naturally double.
I'm not necessarily thinking of making it different from the original production, but I want to bravely try new things where I notice opportunities. That's my stance on revivals. The changes might not be visually dramatic, but I would be very happy if the audience felt, 'The same lines resonated more than in the original,' or 'It felt simple yet powerful.' That is my goal. I want to give my all to achieve it. I've also been discussing the fundamentals of the work and characters with my partner, Taizo Harada.
I seem to have a hunter's nature, and if left to my own devices, I tend to be drawn to the thrill of 'grabbing' a new work and bringing it to life (laughs). However, being given the opportunity to challenge a revival like this allows me to absorb a different kind of nourishment, one that seeps in more deeply and gradually, becoming part of my very being.
It's very tough right now, but I believe a wonderfully fulfilling time awaits once the curtain rises, and I'm pouring all my energy into this final push. I will welcome you all with bright spirits at the theater!!
