Nurturing musical actors and bringing Kanagawa to Broadway Interview with Kensuke Yokouchi, president of Magcal Performing Arts Academy

Celebrating its third year, the Academy moves to a new stage
I want to develop people and theater through the creation of works.

More advanced instruction that develops individuality and sensitivity

--Magcal Performing Arts Academy opened in October 2014. What kind of response do you feel now that about a year and a half has passed?

Yokouchi : Compared to when the school first opened, the number of students has decreased (lol). Steady lessons are difficult, and even if you keep practicing, you won't necessarily become a star. It must be difficult to continue lessons under such circumstances. However, this academy takes the idea of ``nurturing people'' very seriously. I think the people who have been practicing for the past year and a half have definitely grown.

--What do you keep in mind when training musical actors?

Yokouchi : There is no difference in acting whether you are a child or an adult. However, there are many inexperienced people at this academy, and there are many things that they do not know. Therefore, I made sure to teach them carefully from the beginning. Normally, I would go into directing without giving that much explanation, but I consider it to be training for myself, and I teach as carefully as possible.

--The goal of this academy is to develop performing arts artists who can play an active role as professionals. What do you think of the outlook?

Yokouchi : Of course, I don't think that everyone will become professionals, but I think it would be great if some of them could become real players. I hope you will get a chance to do so here. However, since we have decided to start manufacturing here, the way we train people will probably change in the future.

--What does that mean?

Yokouchi : In August of this year, we are planning to perform a musical that is a significantly revised version of ``Bite Show,'' which we performed at the results presentation in April. I'm thinking of creating an original new work next year. When it comes to manufacturing, we must properly develop reliable human resources. To achieve this, it is not enough just to have a uniform average like in schools. Unlike school recitals, each person's individuality and charm is required. Moreover, a musical is a staged entertainment that is different from an ordinary play. You can't just do it seriously like you do at school. Individuality and sensitivity will be sought after more than ever.

--However, it is difficult to develop individuality and sensitivity. Will the teaching methods change?

Yokouchi : It is important for us instructors to develop our strengths and not lose our individuality. The rest is competition and differentiation. At the 2015 results presentation, everyone was given a turn. However, I believe that in the future we should incorporate something closer to professional logic into the academy. When it comes to creating a work, the person who shines should be placed in the center, and the person who lacks brilliance should be supported in the background. It may be discrimination, but it is inevitable in the world of theater. It is necessary to endure these differences, and it is also necessary to have the guts to "do things in a different order." Up until now, it was the same for everyone, but I think competition will gradually be introduced from now on. Teaching will become more sophisticated, and students will be asked to do more difficult things than ever before.

I want to sow seeds and make sure they bloom in order to respond to great opportunities.

――When I was talking with you, it seems like you are thinking about running the academy from a long-term perspective.

Yokouchi : Or rather, it takes time. If you just want to create an interesting work, all you need to do is get the actors together. However, at this academy, we are trying to grow onions to make curry and rice (lol). Of course it takes time. However, I feel every day that I need to get results quickly.

--Auditions for 2016 students will be held soon. What do you hope for new participants?

Yokouchi : I want them to be ambitious. Opportunities like this don't come around very often. I have had more interactions with government officials over the past 20 years, but this is the first time in my 35-year career as a theater director that I have met a governor who is so supportive of the performing arts. I feel that this is a once in a lifetime encounter. Since we have been given such a chance, we must plant the seeds and make them bloom properly.

--It's a blessed environment for musical actors and people who aspire to be actors.

Yokouchi : That's right. But please don't think this place will be around forever. There is a good chance that it will disappear. In fact, at one point the youth center was on the verge of becoming a forgotten facility. More than 30 years ago, many masterpieces were performed in this hall, and high school students were able to see them at reasonable prices. For me, the play I saw at this hall led me to pursue a career in theater. But that was a long time ago. Until Governor Kuroiwa took office, there were fewer opportunities for plays to be performed. Now, it is trying to regain its former glory once again. This chance is a great opportunity. Various types of entertainment are created in Tokyo, and Tokyo is considered to be the center of both television and theater. However, Kanagawa Prefecture is currently trying to turn this area into a Broadway location with the aim of making Kanagawa full of musicals. Lucky Ikeda and Keiko Fukasawa, who are usually active in Tokyo, also serve as instructors at this academy and are engaged in manufacturing based in Kanagawa Prefecture. It's like a magnet, attracting more and more people. Everyone who participates in the academy has sensibilities drawn to this area. I look forward to such sharp sensibilities.

--What kind of discussions are you having with other instructors about your future?

Yokouchi : We are talking about creating something that cannot be created at an office in Tokyo. Now, let's teach the lesson carefully. Because government is involved in this academy, we can develop human resources from a slightly different perspective than business. If you think about business, you'll probably want to perform with outside stars in order to recover as quickly as possible. If you put on a musical with a handsome guy and a beautiful girl, you'll be able to attract a larger audience. However, this project would be meaningless if the members trained at the academy were not at the core. The strength of the academy is that you can develop your individuality over time.

--From the perspective of the students, there is also the benefit of being able to see their actual abilities.

Yokouchi : That's right. There are many beginners, but their potential for improvement is astounding. The three people who were the main focus at the 2015 results presentation did not even have a voice last year and were completely lacking in strength. I was surprised that it could grow so strong in just one and a half years. The theater company also has young people in their 20s, but high school students grow even faster. If you are motivated, even a complete beginner can improve rapidly. Moreover, since I have friends with me, I can improve my skills through friendly competition. Moreover, this academy is still in its early stages. It is difficult to break into a place that has already been established, but now, if you have the guts, you can create it together. Even beginners should be able to build a place where they can thrive and belong.

-- Mr. Yokouchi also directs for the Tobiza theater company. What do you think is the difference between Tobiza and this academy?

Yokouchi : Tobiza is a play, but this is a musical. Musicals are never betrayed by practice. The more you practice, the more your technique will improve. Of course, acting requires skill, but there's a big part of it that doesn't. If the humans aren't interesting, the lines won't be interesting, so I'll say things like, ``Hey, go get a drink,'' or ``Go play some more!'' (laughs) On the other hand, in musicals, if you work hard, you will get the results you put in. In singing and dancing, there are solid examples and goals. It's good for education.

Our goal is a public theater that offers seasonal fun.

--At the 2015 results presentation, we performed the Academy version of "Bait Show." Please tell us more about this performance.

Yokouchi : The play is based on an original musical performed at Tobiza. Combining existing songs and original songs, we are showing the part-time job scene in an omnibus. I think the performance turned out to be a life-sized version of them.

--In August, there are also plans to perform ``Bite Show ~ Seishun Hen''.

Yokouchi : This Academy version has been completely revised and will be performed as the main performance. However, the concept is the same as the Academy version. It is filled with scenes from part-time jobs, human relationships, worries of youth, dreams, hopes, and setbacks. Next year, I would like to create a new original musical.

--Please tell us about your future prospects.

Yokouchi : We have received a request from the governor that he would like us to increase the number of performances and works. People say, ``When people come to the youth center, I want it to be like something is being performed,'' and ``I want to show it to people from other countries.'' There is no such thing as a chance like this, so we are determined to work hard. There is no way not to ride this wave. We feel that we have to quickly convey to everyone in the prefecture that we are serious about this.

--What kind of ideal picture do you have in mind for this human resources development project?

Yokouchi : I would like to increase the musical repertoire at the youth center. Ideally, we would prepare a variety of programs for children, young people, and the general public, and be able to perform them at any time upon request. Theater companies throw away props after every performance, but here we would like to have props that can be used for a long time, so that we can cover the costs by performing multiple times. I want each role to be played by multiple members so that it can run for a long time. Don't you think it's a waste that we have such a wonderful theater, but there is no repertoire that can be performed there? In Europe and America, each theater has its own repertoire, such as ``this opera will be performed in winter'' or ``this ballet can be seen here.'' Japan also needs a public theater that has something to look forward to each season. I would like to take on initiatives that only a public theater can do and create a new culture.