First Appearance in a Koki Mitani Play in Nine Years

It's already April in 2017. I hosted NHK's "Studio Park Kara Konnichiwa" until February, and since the stage play began rehearsals in March, I graduated from the program a little early. I had the opportunity to speak with many guests I wouldn't have met otherwise, which was a truly valuable experience. Thank you for your support over the past three years.

Please note that the following contains spoilers for the play "Fushin."

Rehearsals for the new play "Fushin ~Kanojo ga Uso o Tsukuru Riyu~" began at the end of January. Although, to be fair, the script wasn't entirely finished yet (laughs). Even just reading the parts that were completed, the script was already incredibly exciting.

This marks my first appearance in a new play directed and written by Koki Mitani in nine years. As expected, it's incredibly entertaining! And this time, unlike previous works, it's not a single-setting play; the scenes change rapidly. This was a first for a Mitani production. There are 34 scenes in total. The aim was to make it as fast-paced as a film.

So, how do we achieve that speed on stage? We were constantly experimenting in rehearsals. Those six chairs, you see, move dynamically, changing positions to suit each scene. They're moved manually, not automatically. Though they appear automatic, they are manually operated (laughs). The indispensable stagehands worked with incredible focus.

There was no elaborate set, only abstract elements with these chairs, and the actors had to convey everything through their performance. It was quite challenging. It made me realize how grateful I am for the presence of a set.

The fact that the theater seating was on both sides was a particular challenge for the actors this time. We were completely visible from all directions, 360 degrees. It felt like double the usual level of concentration was required. However, many audience members expressed a desire to see the play from both sides, and indeed, many people attended on different days to watch from the opposite side. Thank you all so much for your repeated visits.

This production of "Fushin" is a comedy-suspense. There were no character names, and the stage was remarkably simple and stylish. It's a cool piece of theater. Two married couples live next door to each other. My character has kleptomania, a peculiar trait, and she is the catalyst for everything. Ultimately, she is murdered by her husband. It's a rather poignant and tragic ending. The other couple, while meddling in their neighbors' affairs, are perhaps having affairs themselves? This sense of "mistrust" emerges in the end.

There were moments of laughter, thrilling suspense, and cleverly placed foreshadowing, leading to widespread acclaim. Just as Mitani-san embarked on a new challenge, I too took on a new role, feeling as though I had reached a new artistic plateau.

page02.Surrounded by Wonderful Co-stars

Surrounded by Wonderful Co-stars

The play, with just four actors, completed a demanding two-month run.

Danta Yasunori is the Japanese actor I respect the most right now. We've known each other for a long time, but our first collaboration was in last year's play "Kutsukake no Tokijiro." He was the magnificent actor I had imagined. His skill on stage, his presence, and even in private, he's an unpretentious, perfectly ordinary middle-aged man (laughs). Just watching Danta-san act in rehearsals and on stage is a pleasure and a true learning experience.

This is my first time working with Yuuka. My goodness, her face is so small! (laughs) She's incredibly intelligent, and while she might seem a bit shy about Mitani-san's notes, she overcomes them with ease. She also possesses a great sense of humor. Her ever-changing expressions are truly charming. Her role in this play (Female 1) is wickedly cute! Even her bad side is completely endearing (laughs).

I also worked with Kurihara-san, who plays my husband, for the first time. He's a very serious and dapper gentleman. Kurihara-san, a graduate of the Shiki Theatre Company, was in his first original production. Starting with an incomplete script must have been quite a surprise (laughs). Regardless, he was always the first to arrive at rehearsals and the last to leave, continuing to practice. Danta-san jokingly remarked to Kurihara-san and me, "Honestly, I wish they'd cast people who are good at singing instead of us!" I'd love to perform in a musical with Kurihara-san someday.

I believe the climactic scene, performed solely by Kurihara-san and myself, is both poignant and beautiful. It made me ponder many things: What is "marriage"? What is "love"? What is "form"? While contemplating these questions, I even found myself thinking, "Ah, I am happy on my own" (laughs). Yet, throughout the lines spoken by Male 2, there were constant expressions of love for his wife. Hearing them each time was heart-wrenching. It's a murder born of love. "My wife is a weak woman who cannot survive without me protecting her." "She was certainly a handful, but I loved my wife." Hearing these lines from the wings, I truly felt how deeply loved she was.

On days with two performances, we always ate together, the four of us, during the break. A quick meal, then rest. We proceeded with a steady, unwavering rhythm.

Tuna

Farewell

Ground beetle

The props were also unique. The tuna head, in particular! It was difficult to place without hitting my legs (laughs). I grew fond of both the "ground beetle" and "farewell" props. The snow globe is very lovely, though I never got to touch it on stage.

Including rehearsals, it was over three months! Not a single one of us caught a cold; we truly worked hard, the four of us. We were physically and mentally exhausted, and perhaps only the four of us can truly understand the sustained tension, but I'm relieved it concluded safely. It was a fortunate production, receiving much praise from so many of you. My heartfelt gratitude. Thank you. Following this, I will begin filming the drama series "Iryu Sosa" in Kyoto. It will air starting in July. Please look forward to it!