Slowly but surely, the spirit of Chochu Miyako began to seep into my muscles.

After its Tokyo run, this play toured, and I believe it truly came into its own as the "O.V."—the Osaka version—during the Osaka performances. Osaka has a unique energy that makes it a very comfortable place for actors to perform, and this is true not just for this production. While it’s always been that way, when you’re the sole performer, you feel it even more intensely as you embody that atmosphere entirely on your own.

The theater in Osaka was Sankei Hall Breeze, with about 900 seats.

It’s a very large theater, one I visited last year for the two-person play "Goodnight Sleep Tight" with Kiichi Nakai, but this run was for 12 days.—Every day was sold out. These were truly grateful days.

Strangely, though I was alone on stage, I didn’t feel alone in Osaka. That is the essence of the Osaka performances.

Everything in the theater space contributes to the creation of the performance. And ultimately, it’s created with the audience. The way the people of Osaka open their arms, their frank warmth. It felt like they were saying, "Welcome! We'll clap and laugh a lot, so give it your all in your performance!" It was a true sense of unity. Feeling that atmosphere, I was able to perform with confidence, as if I were conversing with everyone in the audience. The moments where I spoke directly to the audience felt completely natural. This is the most distinctive feature of the Osaka version.

You know how at concerts, people often pass large balloons around in the audience? My feelings were like that. My emotions circling over the audience's heads, becoming one. And I feel that it was during the Osaka performances that the spirit of Chochu Miyako began to slowly but surely seep into my muscles.

Keiko Toda: "Naniwa Butterfly N.V." and O.V. (Osaka Version) Part 2

The audience's reception compared to the premiere was deeply gratifying.

This revival was undertaken as a revenge for the performance five years ago.
One of my goals was to be "light and graceful." Perhaps you could call it a sense of ease...
To achieve that, I focused on physical conditioning. Fortunately, I believe my stamina had improved since the premiere, and I diligently took care of myself in anticipation of the demands. Of course, I (almost) abstained from alcohol (laughs) and completely quit smoking. I had regular massages. Daily stretching and taping for my lower back. I wonder how much tape I used...

Nevertheless, I was utterly exhausted—. Maintaining concentration alone for nearly two hours every day was quite arduous. At times, my shoulder blade movement became restricted, leading to days of icing, but I managed to get through it. It took all this effort and a stoic lifestyle to reach this point (laughs). And looking back on both the premiere and the revival, I realized that solo performances are incredibly demanding! No matter how many times you do it, it’s tough!



However, I received feedback from the audience that it was clearer, deeper, more moving, and more enjoyable than the premiere. Especially after arriving in Osaka, I heard from fans who had followed me all the way from Tokyo. If that's truly the case, nothing could make me happier.

And I realized something else—.

To appear as though I'm performing with only 80% of my strength, with ease, requires about 200% of effort in my daily life and during rehearsals, and I must continue to hone my skills even further. Only then can a sense of ease emerge during the actual performance. There is no other way. Since I am not a genius, performing with 80% effort doesn't mean it looks like 80%. It looks like 80% only after 200% effort. So, if any hint of ease or enjoyment was visible in my performance this time, perhaps some of my daily efforts have finally paid off a little... (laughs).

Keiko Toda: "Naniwa Butterfly N.V." and O.V. (Osaka Version) Part 3

I will never forget crying tears of frustration on the night of the Tokyo premiere.

On the opening night of the Osaka performances, I had the opportunity to visit Chochu Miyako's grave. This was my third time.
During a day off, I visited the Chochu Miyako Memorial Museum. The museum is preserved as it was when she lived there, so the moment I stepped through the entrance, something deeply moved me.

There were so many photographs, sunglasses, costumes, kimonos, her bedroom bed, the living room, etc. Even by today's standards, the photos from that era are incredibly stylish. It's clear she was dressed in the height of fashion for her time. Chochu-san was so cool! I was surprised to see a small framed photo of her father and her mentor (Ryūshi San'yūtei) and a young Bokuchan (Yūji Nanto) on the desk in the tatami room, all in frames sized for their childhood appearance. Koki Mitani must not have seen this, but it's amazing!!



Finally, the question remains whether I should continue to perform such a heart-wrenching play in the future. Many people were unable to see it this time, and there were many regions we couldn't visit on this tour. Honestly, unlike after the premiere, I don't feel "never again!" at this moment. As someone who naturally prefers to constantly pursue new endeavors rather than remakes, if I were to perform this solo play again, I would need some kind of motivating factor for myself. So, if you ever see the title "Naniwa Butterfly" announced again, please understand that it means I've found that something within me (laughs).

I will never forget crying tears of frustration on the night of the Tokyo premiere.

Although you couldn't see the Osaka performances, thank you to Koki Mitani, who wrote such a wonderful script just for me.

Thank you to everyone involved in the "Naniwa Butterfly N.V." production.

<INFORMATION>
TV Tokyo "Muse no Bansan"
Every Saturday 22:30–22:55
Scheduled to air May 29th!