[Tigeki musical Japan Yokohama Ohama-sama]
Honmoku Jyuniten High School drama club is trying to do the play [Japan Yokohama Ohama-sama] at there school festival. The play is about [Chabuya( 1F dance floor , 2F love hotel specializing in short stays)] and the legendary star [ Meriken Ohama] that existed in real life. Adults our objecting to the idea saying that [ it is not appropriate for high school students to do a play about prostitutes]. Set at a modern high school it conflicts on [sex] and [independence of women]. It is an all original musical that is based on real people and places.
8/12 Sat 14:00~/18:30~,13 Sun12:00~/16:00~ *The afternoon session on the 12th there is a After Talk event, on other sessions there is a Mini review show. Place Kanagawa Youth Center Hall (nearest station Sakuragicho, Hinodemachi) ¥4000 general ¥2000 university, vocational school, drama research students, under high school (tickets available at the venue plus ¥200) Ticket reservation Confetti http://confetti-web.com/mojahera (Open for reservations 24hours) 0120-240-540 toll free , operator corresponding (Open week days 10:00-18:00) Cloud funding (deadline 8/6) We want to show Our Tigeki musical [ Japan Yokohama Ohama-sama ] which touches the history of Honmoku for free to the students https://camp-fire.jp/projects/view/32103 *Elementary, Junior and High school students, drama research students and university students that live in Kanagawa can watch for free.
◇The environment is both same for Chabuya and modern life. It’s fun because people clash at times.◇
・Please tell us what’s special about each character and what you think is the appeal of the play.
Ms Miyake: I’m Miyake Moe and I play a second year student of Honmoku Jyuniten High School named [Mika] . She is strong welled and doesn’t like to lose. The writer has even called her [pigtails that can get angry]. She hates lies and has a strong sense of justice so she often say what she thinks is wrong even to her teachers. She is strong welled and doesn’t like to lose. The writer has even called her [pigtails that can get angry]. She hates lies and has a strong sense of justice so she often say what she thinks is wrong even to her teachers.
So, you are currently a high school student. In reality are there few students that are actually like that?
Ms Miyake: There isn’t! Every body is all act nice up front but, they are mean and they complain on SNS in the back. We don’t really say things directly to their faces. I guess it’s like there is a lot of goody two shoes. In this times part, there is a lot of scenes where I have to show anger. However, I had the problem of looking childish trying to express that. I’m in the process of trying to figure out how to show anger in different ways. I want people to see how everyone speaks their opinions directly to each other as well as the the main dance and singing parts in the Chabuya. There is the enjoyment of both brilliant dancing and singing colliding together which is only a trait of musicals.
Ms Matsumoto: I’m Matsumoto Nodoka and I play Mika’s classmate [Rei] who is also the co leader of the drama club. My role is the hot blood type that also say what’s on her mind so we often clash. She doesn’t now when to give in. It kind of reminds me of myself when I was in elementary school.
・Was it easier to get into the role since it kind of doubled as yourself?
Ms Matsumoto: it’s hard to say that it was easy to get into the role. Although there is similarities at the same time I have to show the parts that I don’t like which I prefer not to admit. In addition, there expressions on the script that we try to avoid saying or ignore seeing in modern times which makes it more difficult. Nevertheless, you can really enjoy the dances and the songs in the musical. I would like people to especially put the attention to the lyrics. The writer Ms Kawata also did the lyrics but everything that they want to say is all poured in that some parts even feel like rap. I hope I can express all the emotions that is in the song to the audience.
Mr Tanaka: I’m Tanaka Atsuyuki and I play [Kurata Harusaburou] who existed for real. He was the one who made a Chabuya town in Honmoku. This is my third time to play. At first I thought he was a happy and easily flattered merchant. However as I kept playing the role I realized that he was more complicated. Like they are adults that are smiling but their eyes aren’t. Now I think he has another side like those politicians.
・Did you come to this idea because you walked through the old Chabuya town, meeting Mr Kurata’s descendant and doing interviews to get into character?
Mr Tanaka: Beside that I think it’s because I read a lot of documents regarding the era when Kurata lived. Buying the land of Honmoku to make his empire, leaving culture and being intelligent I think he was an attractive person. I think behind his smile he probably killed too. I think the appeal of this play is that there is a lot of people that clash because they are honest. It’s set in Chabuya but it’s the same as now. The Chabuya is gone today but it’s the truth that it existed. What is wrong and what we need to preserve. Since, there is going to be the 2020 Olympics・Paralympics we are going to get more attention from out side of the country. As a Japanese I think it’s important to know and pass down history. What we can leave after the play. In addition, to to give meaning to the children that holds our future is my goal.
◇The beginning to becoming a professional director was watching a Yokohama citizen musical in high school ◇
To director Sasaura.
I feel that there is a consistency in the theme such as women’s independence and sex just like the previous plays that was based on Ukiyo hotel. Mr Sasaura: the writer Kawata has been doing women’s independence for a while. Although it’s been said that the employment opportunities for men and women have become equal, there is still less women working in administrative positions. A lot of the creations are based on the absurdity women feel in society.
・Bushy head and Giddy glasses is a drama unit. But why is it that you don’t have a company?
Mr Sasaura: If you hold a company with actors you are most likely to have actors that don’t match the play or the role. I think we get better results when we hold additions or offer someone the role each play to find the right fit. In this times Tigeki musical there is 25 actors plus 1 guest is going to participate each performance.
・It’s a rational way to think but do you ever clash?
Mr Sasaura: Kawata live in Switzerland when she was young so she has a international sense, strong willed and says what she thinks. I also say what I want so we fight a lot. However, I think it’s easier to be able to say what we want to each other. The actors and staff get a along well and it’s very good environment because we can say what we think to each other even in rehearsal.
・Since the prefectural play in 2014you have been involved in the prefecture’s business. Was local dramas originally a part of your interests?
Mr Sasaura: We work mostly in the Kanagawa area. I was originally doing local dramas and at the time at the prefecture sponsored [ dialogue plaza] Governor Kuroiwa said [ you can use the main office big conference room as a stage]. Kawata who heard that asked a general question [ what should we do to do a drama here? ] and that’s where it all started. The ideas came into detail in the course of 4 months where the play is now really happening. I was impressed at the speed of how Kanagawa organized it.
・What lead you to become a director?
Mr Sasaura: I actually didn’t have a detailed idea of drama I wanted to do. I just had a memory of seeing a Yokohama citizen musical during high school which stuck with me. In university I participated in a citizen musical called [Constitution play]. Starting then I learned staff work. Working was much more fun than learning at school. I dropped out because I got so into it.
・So your start to becoming a director was a citizen musical and now you are working on a Tigeki musical?
Mr Sasaura: I did a play with the members I met during the citizen musical. It was supposed to e a on time thing but we were able to make money out of it so we decided we needed to keep doing it. However, we had professional staff the next time and ended up having a rough patch during that time. I don’t think many people become professionals starting at citizen musicals but I think drama that anyone can participate in is important for the community. Like what we do to connect drama with the community Ehime prefecture has [Bocchann Theater] , Akita prefecture has [Warabiza]. It doesn’t finish by just acting but it nurtures the people that touches theater. I think it’s wonderful that there is an environment that prepares for the future.
・The Prefectural Youth Center is named Magukaru theater.In this times play you used cloud funding for the first time right? (Goal 500,000yen , half way as of 7/9)
Mr Sasaura: Yes. We are trying it because we want students to come see it. We are acting about real things , people and culture of Yokohama Honmoku mixing it with lies. Prostitution and brothel is a topic that is rarely seen on media such as television. However by bringing it in to theater it’ll hopefully be a chance to know about that kind of culture and be information for deciding what to do in the future. I think there are things that can be expressed because it’s theater. I want them to be more connected to theater in there daily lives. At this play it is expressed with dance and music in a musical style. I wan to spread the word that [why can we not express this through drama?]
Next play plans [Pankudoranka] 10/20 Fri-28 Sat Razo-na Kawasaki Purazasoru Script : Midori Shinichiro (theater producer [spiral staircase] Director: Sasaura Nobuhiro (Bushy hair/ eel plan) Tickets from 8/19
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